Start making Easter plans now: Bluesfest has just announced the first acts on its 2023 lineup. From Thursday, April 6–Monday, April 10, the iconic annual festival will return to Byron Events Farm at Tyagarah for its 34th event — with Elvis Costello, Mavis Staples and Gang of Youths leading the bill. Also heading to northern New South Wales as part of the five-day lineup: Jackson Browne, Tash Sultana, King Gizzard and the Lizard Wizard, Jimmy Barnes with The Barnestormers, and Talib Kweli, GZA and Big Freedia as special guests of The Soul Rebels. As usual, Bluesfest's roster of talent spans a hefty array of music genres — blues and roots, obviously, but also soul, rock, hip hop, R&B and more — with Beth Hart, Buddy Guy, Lucinda Williams, Steve Earle and The Dukes, The Cat Empire and Xavier Rudd also set to take to the stage. Rockwiz Live will be doing its thing, too, in the perfect setting. And, would it be a Bluesfest without Michael Franti & Spearhead? In 2023, you won't need to find out. [caption id="attachment_867502" align="alignnone" width="1920"] Mavis Staples by Myriam Santos[/caption] In total, 41 acts have been announced so far — with more to come, for what organisers are calling "the first original style Bluesfest since the world's borders re-opened". While the fest went ahead in 2022 after two years of pandemic cancellations (and a thwarted temporary move to October for the same reason), it showcased a primarily Australian and New Zealand lineup. With the return of international travel, Bluesfest can welcome top-notch acts from around the globe again. Season tickets are on sale now, alongside VIP tickets, with prices remaining at 2022 levels for the 2023 fest. Day and three-day tickets will follow in the near future, at a yet-to-be-announced date, along with more lineup announcements, plus news of sideshows and two special satellite Bluesfest events in Melbourne and Perth. BLUESFEST 2023 LINEUP — FIRST ANNOUNCEMENT: 19-Twenty The Barnestormers Beth Hart The Black Sorrows Bonnie Raitt Buddy Guy The Cat Empire Chain Christone 'Kingfish' Ingram Elvis Costello & The Imposters Eric Gales Femi Kuti & The Positive Force Gang of Youths Greensky Bluegrass Jackson Brown Jason Isbell and The 400 Unit Joe Bonamassa Joe Camilleri Presents: A Star-Studded Tribute to the Greats of the Blues Jon Stevens Kaleo Keb' Mo' Band King Gizzard & The Lizard Wizard Lachy Doley and The Horns Of Conviction Larkin Poe Lp Lucinda Williams Marcus King Mavis Staple Michael Franti & Spearhead Nikki Hill Robert Glasper Rockwiz Live The Soul Rebels & Friends with Special Guests Talib Kweli, GZA and Big Freedia Southern Avenue Spinifex Gum featuring Marliya Steve Earle & The Duke Tash Sultana Xavier Rudd Bluesfest 2023 will run from Thursday, April 6–Monday, April 10 at Byron Events Farm, Tyagarah. Season passes are on sale now. For further information, head to the Bluesfest website.
When working nine to five isn't panning out for Raylene 'Red 'Delaney (Krew Boylan, A Place to Call Home), she does what all folks should: takes Dolly Parton's advice. Pouring yourself a cup of ambition is never simple, but when you're a Parton-obsessed Australian eager to make all things Dolly your living, it's a dream that no one should be allowed to shatter. That's the delightful idea behind Seriously Red, which pushes Parton worship to the next level — and idolising celebrities in general — while tracking Red's quest to make it, cascading blonde wigs atop her natural flame-hued tresses and all, as a Dolly impersonator. That's a wonderfully flamboyant concept, too, as brought to the screen with a surreal 'Copy World' filled with other faux superstars; enlisting Rose Byrne (Physical) as an Elvis mimic is particularly inspired. Seriously Red doesn't just get its namesake adhering to Parton's wisdom, whether sung or spoken over the icon's 55-year career. It also splashes the country music queen's adages like "find out who you are and do it on purpose" across its frames as well. They help give the film structure and assist in setting the tone, as this rhinestone-studded movie comedically but earnestly explores two universal struggles. Everyone wants to be true to themselves, and to work out what that means. We all yearn to spend our days chasing our heart's real desires, too. As penned by Boylan in her debut script, and directed by fellow feature first-timer Gracie Otto (after documentaries The Last Impresario and Under the Volcano, plus episodes of The Other Guy, Bump, Heartbreak High and more), Seriously Red spots a big question lurking in these missions for Red, however — because what does it mean when being yourself and scoring your dream gig means being someone else? When the film begins, Red isn't loving or even liking her lot in life, and definitely doesn't want to keep the status quo on purpose. Tension lingers in her real-estate valuer job and at home, where she's turned her mum Viv's (Jean Kittson, Fat Pizza: Back in Business) garage into a flat — and the daily tumble out of bed and stumble to the kitchen, then to work, is a grind. Even worse, she's tricked into showing up to the company party in her Dolly regalia to be the butt of the office's jokes, although it does get her an in with an impersonator talent agent. Teeth (Celeste Barber, The Letdown) sees an opportunity, Red is willing to take it, and employment and a whole new world follows. Still, Viv can't see how going full Dolly can pay the bills, withholding her support. Also at home, Red's friendship with her best mate Francis (Thomas Campbell, Love and Monsters) feels the strain. Just like its protagonist, embracing this trip down the impersonator rabbit hole — using a Parton-shaped key and plenty of pluck — is easy for Seriously Red. It revels in the look and feel of all things Dolly from outfits to paraphernalia; if something is adorned in a Parton-esque way, this film will likely always love it, short of the flick becoming a movie version of Dollywood. Plunging into the Copy World happens with just as much spirit and affection, and with gags like Dannii Minogue as a Dannii Minogue impersonator. Trevor Ashley's Barbra Streisand tribute gets a whirl, and everyone from Elton John and Freddie Mercury to Madonna and George Michael scores a doppelgänger. If The Adventures of Priscilla, Queen of the Desert and Muriel's Wedding spring to mind — because movies about taking to the stage in big, camp theatrical displays based around music legends has long been in Aussie cinema's DNA — there's a tangible link to the former courtesy of Oscar-winning costume designer Tim Chappel. It should come as no surprise, too, that Boylan's script has Red team up with a Kenny Rogers impersonator (Daniel Webber, Billy the Kid), including to do more than croon 'Islands in the Stream'. In the business, as she flits around the country and even the world busting out her best Dolly, there's no shortage of people who respect the gig — Bobby Cannavale (The Watcher) plays Wilson, an ex-Neil Diamond impersonator-turned-agency owner, as another example — but Seriously Red's Kenny is something else. He lives like his hero 24/7, right down to the attire, locks and facial hair. He's also made 'The Gambler' singer's moniker legally his. And, he's the impetus for Red making a similarly hearty commitment, then also evaluating whether Dolly or Red should actually come first. Glimmering with the same fantastical vibe that gleefully silly recent new instant comedy classic Barb and Star Go to Vista Del Mar also boasted — cinematographer Toby Oliver lenses both, roving over jewel tones here instead of pastels — there's more verve and attitude than poise to Seriously Red. That always feels fitting. There's a scrappiness to being even the best impersonator, as Red's Parton shows; over and over, she sums up the bulk of the movie. While the film can fall on the awkward side of comic, and its dramatic beats aren't quite in tune (see: Red's conflicts with her family and friends), that can-do attitude keeps shining. Of course a feature about taking a big swing does that itself again and again. Of course a picture about adoring and taking life advice from a legend that has never let anyone else define her, and has proven the epitome of kindness-fuelled resilience over her time in the spotlight, dances to its own song as well. Parton's music isn't always as bright as her smile, though, a truth that Seriously Red also works with. This Dolly-approved flick — with her likeness so prominent and her music instrumental, including sung by both Boylan and the artist herself, it couldn't have happened without Parton's seal of approval — grapples with Red's lows as well as highs. It shows the impact that her self-centred behaviour has on others, too, and the way the world often beams anything but sunshine her way. As an actor, Boylan weathers those ebbs and flows with adaptability and commitment. As a performer playing an aspiring performer whose whole routine is based on another performer, she ensures that Red's raw edges are never buffed away. As a writer, Boylan noticeably leans on tropes, but Seriously Red doesn't need to beg its viewers to have an entertaining time.
Why just eat one regular old sweet treat when you can feast your way through a glorious hybrid of two beloved desserts? That's long been Gelato Messina's unspoken motto. So, last year, the chain delivered a tastebud-tempting creation that took its delicious take on the trusty Viennetta and mixed it with its version of Golden Gaytimes. The result: the Have a Gay Old Messinetta tub, or the Gayinnetta as Messina has also dubbed it. And, in great news for your tastebuds this winter — because yes, you can still eat gelato when it's frosty outside — this limited-edition treat is making a comeback. If you've tried a scoop of the brand's popular Have a Gay Old Time flavour already but didn't tuck into any Gayinnetta last time around, just imagine that flavour turned into Viennetta. This dessert combines layers of caramel and milk gelato, then covers it with chocolate-covered biscuit crumbs, and finally tops it all with ripples of vanilla and caramel chantilly cream. And yes, the end result looks like the dessert you know and love, but in a caramel colour for a change. If you're keen to get yourself a Gayinnetta — which'll cost you $40 — they're available to preorder online on Monday, May 30, for pick up between Friday, June 3–Sunday, August 5 from all stores. And, because Messina's specials always prove popular, the brand is now staggering the on-sale times. Accordingly, folks in Queensland and the ACT are able to purchase at 9am, Victorians at 9.30am, and New South Wales customers split across three times depending on the store (with pies from Circular Quay, Surry Hills, Bondi, Randwick and Miranda on sale at 10am; Brighton Le Sands, Tramsheds, Parramatta and Darlinghurst at 10.30am; and Darling Square, Newtown, Rosebery and Penrith at 11am). Gelato Messina's Have a Gay Old Messinetta tubs will be available to order on Monday, May 30, for pick up between Friday, June 3–Sunday, August 5 from all stores. Head to the Messina website for further details.
Thornbury locals will know Pastificio Sandro well. The Italian grocer fills its cabinets with its own handmade pasta and ready-made meals, along with stacks of local and imported produce. To enjoy Sandro's cooking prowess in its full glory, you used to have to buy its pasta and sauces separately (or its excellent meat lasagne) and cook it all up at home. But there's now another way. Every Friday and Saturday night, diners who book a seat online can head around the back alleyway and find the entrance to its new secret restaurant p r o v a. Here, you'll either sit at the large table where they make the very pasta you'll be eating or at one of the smaller tables by the pasta cabinet, and tuck into a six-course feast ($125). Head Chef Adrian Bressanutti (ex-Stokehouse and Tipo 00) has created a menu of contemporary Italian eats — featuring plenty of pasta, of course. You can also add a wine pairing to the whole experience, curated by Andrew Barry (ex-Gingerboy and Anchovy), or just order as y0u please from the tidy selection of wine and beer. And don't worry too much if you can't get one of the 14 seats. You can always take home one of Pastificio Sandro's fresh pastas, sauces or desserts while you wait for availability.
Earlier in 2020, when events worldwide started cancelling, postponing and rescheduling due to COVID-19, the Museum of Old and New Art (MONA)'s Dark Mofo was sadly one of many that had to pull the plug. It's also just one of the annual festivals that the venue holds but, thankfully, MONA's summer event will be forging ahead — and, if the first sneak peek at its program is anything to go by, Mona Foma's 2021 festival is returning in a big way. Come January, arts and music fans will be able to soak in the fest's eclectic sights and sounds across two weekends — and in two locations. Although Mona Foma was originally held in Hobart, where MONA is located, the event made the move to Launceston in 2019. In 2021, however, it'll split its program between both Tasmanian cities. Launceston will be up first, from January 15–17, with Hobart getting the nod the next week from January 22–24. After revealing back in September that Mona Foma would definitely return next year, MONA has now announced two parts of its 2021 lineup — one per city — which is great news for everyone who loves arts, culture, festivals, lights, lasers, gorges and warehouses. [caption id="attachment_790928" align="aligncenter" width="1920"] Aqua Luma, Robin Fox. Photo Credit: Nick Roux. Image courtesy of the artist and and Mona (Museum of Old and New Art), Hobart, Tasmania, Australia.[/caption] First up, in Launceston, the city's Cataract Gorge will host the latest work by audio-visual artist Robin Fox. Yes, that means the site's landscape will be taken over by an immersive installation, called Aqua Luma — which'll be making its world premiere, will run on a 20-minute cycle from 9.30am–11.30pm, and will be free to attend. Aqua Luma will feature multiple components, too, all adding to one impressive experience. First, it'll include 12 metre-high water jets that'll erupt in time with subharmonic frequencies. Also, there'll be lasers tracing geometrical patterns in the watery mist. Basically, you'll feel like you're standing beneath a canopy of light and sound — and there'll be an electronic composition sent straight to your smartphone as well. [caption id="attachment_790934" align="aligncenter" width="1920"] K&D Warehouse, Hobart, Tasmania. Photo Credit: Mona/Jesse Hunniford. Image courtesy of the artist and Mona (Museum of Old and New Art), Hobart, Tasmania, Australia.[/caption] Over in Hobart, Mona Foma is turning the site of former hardware store K&D Warehouse into a gallery — with exhibition No Place Like Home filling the entire place with video installations, art and sculptures all selected by Mona curator Emma Pike. You'll be able to wander through one of the city's best-known buildings, which dates back 118 years, and see works by artists such as Tony Albert, Zanny Begg, Andy Hutson, Rachel Maclean, Nell, Ryan Presley and Phebe Schmidt. Entry will cost $10 per person. Revealing Aqua Luma and No Place Like Home, Mona Foma curator Brian Ritchie said that the festival was excited about hosting "installations in two of the state's most dramatically different but equally beloved locations". He continued: "Robin Fox has been involved in every festival program since Mona Foma's inception, so it's appropriate that he has created a new work to address a year like no other. While at K&D Warehouse, the art will take you over the rainbow after the storm that was the year 2020." If you're wondering what else the event has in store, Mona Foma's full program will be released on Monday, December 7, with tickets going on sale at 8am the next day. Of course, before you go making big plans for a weekend getaway down south, you'll want to keep an eye on Tasmania's current border restrictions — which, at the time of writing, requires 14 days in quarantine for non-Tasmanian residents entering from a location considered medium-risk, such as Victoria and South Australia. Restrictions on Victorians are due to ease on Friday, November 27, however. Mona Foma will take place from January 15–17, 2021 in Launceston, and from January 22–24, 2021 in Hobart. We'll update you when the full program is announced on Monday, December 7 — but head to the festival website in the interim for further details. Top image: Cataract Gorge, Launceston, Tasmania. Photo Credit: Rob Burnett. Image courtesy of the artist and Visit Northern Tasmania.
While the Sunshine Coast might be best-known for its world-class coastline and truly magnificent beaches, there's plenty to explore inland in this part of Queensland. And the charming town of Montville is the perfect base from which to set off on outdoor adventures in the subtropics. In fact, Montville might be one of the quaintest spots you'll find on the Sunshine Coast. Located on the Blackall Range, the town used to be known by the admittedly cooler name Razorback, but was changed following, of all things, a town meeting. Nevertheless, the picturesque hamlet is a superb spot for your next out-of-town escape. The town itself is home to great restaurants, cafes, boutiques and galleries, and it's on the doorstep of impressive scenic walks and swimming holes. Where to start? We've teamed up with Wild Turkey to put together a list of our favourite ways to enjoy the great outdoors in and around Montville. UPDATE: Due to damage from recent extreme weather in southeast Queensland, some places mentioned may be closed or operating differently. Check websites for the latest updates before visiting. [caption id="attachment_843812" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] EXPLORE THE KONDALILLA NATIONAL PARK Montville is perhaps best known for its close proximity to the idyllic Kondalilla National Park. One of the best ways to take in the epic scenery here is via the Kondalilla Falls Circuit. The slightly challenging but rewarding four-kilometre walking trail takes you from the eponymous waterfall through a verdant valley of lush, green rainforest to a cool rockpool at the top of the falls, before leading to the bottom of the valley where you'll get the best view of the falls. The walk back up is a little tough, but you'll be rewarded with encounters with stunning native flora like bunya pines, piccabeen palms and pink ash. [caption id="attachment_843814" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] SPEND A NIGHT IN THE SUNSHINE COAST HINTERLAND While there are plenty of cute Airbnbs and hinterland cottages in this part of the Sunshine Coast, the region is also perfect for camping. Located along the Sunshine Coast Hinterland Great Walk is the Flaxton walker's camp, which offers a series of campsites peppered through a towering eucalypt and ash forest with a ferny undergrowth. The site is only accessible via a 16-kilometre walk, but we assure you it's worth the effort — you'll be rewarded with truly majestic surroundings and be woken by birdsong as the sun rises. If you fancy bringing the 4WD, the nearby Hunchy Hills Bush Camp is situated on a former banana and pineapple plantation less than five minutes' drive from the centre of Montville. It offers a superbly secluded setting, with each of the three sites boasting a fire pit and log seats. [caption id="attachment_844583" align="alignnone" width="1920"] Elliott Kramer[/caption] SWIM, KAYAK OR PICNIC AT THE BAROON POCKET DAM The Sunshine Coast may well be an area synonymous with stunning beaches, but you'll be pleasantly surprised to know it also boasts some beautiful inland waters as well. Enter Baroon Pocket Dam, a picturesque lake located between Montville and the nearby town of Maleny that offers beautiful picnic grounds, swimming, fishing, as well as plenty of local wildlife. We'd recommend renting a kayak for a few hours to explore the lake and its many surrounding tributaries. [caption id="attachment_843815" align="alignnone" width="1920"] Garry Zhuang (Unsplash)[/caption] GO-KART ON AUSTRALIA'S LARGEST COMMERCIAL TRACK Okay, maybe you're a bit over bushwalking by this point, so you'll be stoked to know that the oh-so-nearby town of Landsborough is home to the largest commercial go-kart track in Australia. Whether you're an adrenaline junkie, looking for something to keep the moody teenager in the family distracted, or just keen for a revvin' good time, the aptly titled Big Kart Track is sure to be a hit. The 1.2-kilometre track includes a series of wide looped turns as well as some serious hairpins, which you can take on in a cart capable of reaching speeds of up to 70 kilometres per hour. The track is open seven days a week for you to live out your Formula One dreams, at much more manageable speeds. Nighttime and wet-weather sessions are also on offer for more experienced drivers. [caption id="attachment_843813" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] EXPLORE THE MARY CAIRNCROSS SCENIC RESERVE Back to walking again, but that's only because there are just so many awesome places to check out while you make those steps count. The stunning Mary Cairncross Scenic Reserve is as scenic as its name suggests and is home to 55 hectares of subtropical rainforest overlooking the beautiful landscape of the Glass House Mountains. The reserve boasts a number of leisurely walking trails and guided tours that'll get you up close with the enchanting surrounds, while the Rainforest Discovery Centre is where you can learn about the diverse life that makes up the ecosystem of this beautiful forest via a bunch of cool multisensory educational exhibits. While you're out and about, keep your eyes peeled for local birdlife — the park plays host to nearly 150 different species. GO LUXURY CAMPING AND SLEEP UNDER THE STARS You've probably heard of glamping, but Starry Nights Luxury Camping takes things to a whole other level. Situated in the bucolic hinterland by the waters of the gently flowing Petrie Creek, these lush grounds host handmade tents spanning 75 square metres, each set on a raised platform of polished recycled barn floor wood. Inside there are hand-carved stone basins, a roaring fireplace, hot running water for both showers and opulent baths in the claw-footed tub, a fully stocked kitchenette, flushing toilets and king-sized beds with organic linen. Settle in among the eucalypts and rolling hills and take in a decadent evening under the stars. Find out more about Wild Turkey's Discovery Series at the website. Top image: Tourism and Events Queensland
While it felt like this year's cultural calendar was dominated by bottomless brunches and themed high teas (and there were a lot of them) a lot of other game-changing events were also taking place. From an inclusive music festival — that was fully wheelchair accessible and translated into AUSLAN — to the first national survey of Aboriginal and Torres Strait Islander design and an immersive installation that took over the Royal Botanic Garden with 6500 burning pots, Melbourne has seen a influx of events celebrating the city's cultural ecosystem and bringing people together. At Concrete Playground we encourage exploration and showcase innovation in our city every day, so we thought it fitting to reward those most talented whippersnappers pushing Melbourne to be a better, braver city. And so, these six new events were nominated for Best New Event in Concrete Playground's Best of 2018 Awards.
It's a movie. It's the big-screen beginning of an entirely new franchise. It's Superman. And, ahead of the first film in the DC Universe reaching cinemas in July 2025, James Gunn's latest step into the world of superhero movies has unveiled its debut teaser trailer. Come for an initial look at David Corenswet (Lady in the Lake) as the Man of Steel, as well as Clark Kent — and at Rachel Brosnahan (The Marvelous Mrs Maisel) as Lois Lane and Nicholas Hoult (Nosferatu) as Lex Luthor. Then, also get excited about a glimpse of Gunn regular Nathan Fillion (Deadpool & Wolverine) as Green Lantern and Anthony Carrigan (Barry) as Metamorpho. Superpowered dog Krypto makes an appearance, too, and viewers will hear a familiar theme tune. "Krypto, home. Take me home," Superman says to his trusty pooch in the sneak peek at a flick that's bringing its namesake back to picture palaces for the first time since Justice League — for the first time in eight years, then, as that's when Zack Snyder's film initially arrived in its theatrical version (Zack Snyder's Justice League, aka the Snyder Cut, debuted on streaming in 2021). Gunn's iteration of the character is seen looking bloody and worse for wear in his familiar outfit to start with, which sparks that need for help from his canine sidekick. This is a movie that isn't afraid of Superman being vulnerable, then, alongside his saving-the-world antics. That line is a favourite of Gunn's, the filmmaker told select press from across the Asia Pacific — including Concrete Playground — at a Q&A about the feature's first footage. "There's the one really potent line to me in the trailer, that moves me, which is when he says 'Krypto, take me home' — and Krypto starts dragging Superman home. And that's, at the end of the day, what this is for me," he explained. "It's about bringing the innate goodness of Superman, bringing it home, bringing this character home — bringing our battered world to a brighter place of healing and bringing that home. And hopefully Superman can be a symbol of that as well. I think that this is the right time for this movie, and I'm excited about people seeing the trailer," the Super, The Suicide Squad, and three-time Guardians of the Galaxy writer/director continued. He's even more enthusiastic about audiences watching the full flick, of course, come mid-2025. "The trailer is really just about being a good representation of the film — and I think it is an authentic representation of what the film is, and I just can't wait for people to that in July." Story-wise, the preview doesn't reveal much of the narrative. "I wanted to create a teaser trailer that gave the essence of what this movie is without giving away too much of the plot," Gunn advised. As for what viewers can look forward to from the eponymous figure, Gunn notes that "I think that we can expect a Superman who is about the compassion of the human spirit; a Superman who is about kindness, love and compassion, while also being a very strong character. So I think he is the best of humanity, even though he is an alien from outer space." [caption id="attachment_985434" align="alignnone" width="1920"] Erik Drost via Flickr[/caption] "It's a little bit different than some of the other Superman movies — it's about Superman's external struggle, but it's also about his internal struggle. It's about who he is as a person, where he comes from, his parents — both his Kryptonian parents and his human parents — and we get to know who this guy is on a real elemental level," Gunn also shared. Co-starring Milly Alcock (House of the Dragon) as Supergirl, as part of a cast that features Isabela Merced (Alien: Romulus), Frank Grillo (Tulsa King), Skyler Gisondo (The Righteous Gemstones), Wendell Pierce (Elsbeth) and, as always in the filmmaker's work, Gunn's brother Sean (Creature Commandos) as well, Superman kicks off a new franchise that Gunn is overseeing in his role as co-CEO and co-Chairman of DC Studios. Supergirl: Woman of Tomorrow is set to follow in 2026, as directed by Dumb Money's Craig Gillespie, then Clayface will release in the same year, working with a script from Doctor Sleep and The Fall of the House of Usher's Mike Flanagan. Gunn also chatted about casting Corenswet, conveying the character's humanity, the approach to the movie's score, the DC Universe's handling of tone, how Superman stands out from the filmmaker's past superhero flicks, the new versions of Lex Luthor and Lois Lane, and more. On How Corenswet's Superman Differs From Past Versions of the Character — and What the Actor Brings to the Role "David both has that optimistic boy scout quality that Superman has, both on-screen and in real life, frankly, and a real down to earth-ness — besides the fact that he's this incredibly good-looking guy, he doesn't have any sort of arrogance or ego in that way. But also he is a really phenomenally trained actor who went to school at Juilliard and is just one of the best actors I've ever worked with. Incredibly nuanced, incredibly questioning all the time, trying to figure out how can he give his best performance. There's never a take I look at after the dailies where I go 'he isn't fully authentically Superman'. He is Superman every moment he's in the movie. Even the stuff that, where I'm cutting together the best performance as possible, even his worst is still great … I said to David when he got hired — he went through a very, very long and arduous audition process in which hundreds and hundreds of people auditioned for the role of Clark Kent/ Superman. David won it, and I said to David, I said 'you've got to work on two things. You've got to work on your shoulders, and you've got to work on your vulnerability'. And those were two things that he then spent the next six months getting bigger and also working on elements of being vulnerable on-screen, which I think was a little bit more difficult for him, as it is difficult also for Superman." On Exploring Clark Kent's Humanity "I think that's all the movie is about. This movie is about Clark Kent's humanity. Yes, he's an alien from another planet who's super powerful, but he is also deeply, deeply human. He has emotions and feelings. And every day he wakes up and tries to make the best choices he can, and sometimes he fails. And that's what this movie is about. This is about a complex character. And I think that's the thing that audiences are going to be completely surprised by, they can't really see in the trailer, is these complex relationships between Clark and Lois, and Lex and Clark, and how they interact and the different values they have, and how they strengthen each other and make each other weaker." On the Approach to the Film's Score — and the Iconic Superman Theme "John Murphy [The Suicide Squad, Guardians of the Galaxy Vol. 3] is the guy who composed the score. He's an incredibly talented guy who I love working with, with a great spirit. As soon as I finished the script — he was one of the first people I gave the script to — I said 'start thinking of music'. I said: 'the one thing I'll say is I do want to use the classic Williams score, but I want you to turn it and mutate it, and turn it into your own thing that'll represent this film and this story'. So there's a very powerful thing about it. There's also a slightly melancholy thing about it. And I think those are both parts of this very emotional and touching story that we're telling through the movie. And John not only wrote that theme, but he put together so much music for the movie that we then play on set and shoot to, so that we know exactly what the score is. And that score is baked into the movie. This was a very different movie because music is always very important to me, but a lot of times I've used a lot pop songs of various types throughout the movie, and this is not the case for Superman. This is basically about the score, and so it has an incredibly important role in this film. I can't wait for people to hear the whole thing, because it does go into that whole Williams thing, and then it transforms into something else, and then it becomes something else again. And it is a stunning piece of music." On How Audiences Can Expect the New DC Universe, and Superman Within It, to Navigate Tone "Well, the one thing they can expect from the DCU is that every film and TV project will have its own vision. And some are going to be family-oriented, like Superman. Other ones are going to be a little bit more adult-oriented, like Creature Commandos, which is now playing here in the States and in some other places, a lot of other countries. And so they're all going to be very different. But I do think that in Superman, it's interesting because it's not as if there's not a lot of darkness in the film. I think to be truly optimistic, and to truly be hopeful, if everything's going great and everything is perfect, it's a lot easier — then Superman isn't as strong of a character. So this isn't Superman dealing with hope and optimism in light times. He's dealing with hope and optimism in very difficult, hard times, dark times. And that's what the movie is facing. " On How Gunn's Work on Superman Differs From His Past Superhero Movies "I think it's very different. I don't think of Guardians or The Suicide Squad, really primarily as comedies, but certainly comedy was a big part. And it's not that there's no humour — there's plenty of humour in Superman — but at the core of it, it really is something different. It's a different sort of story. And it's vulnerable for me to make that, because the honest truth is when I make a movie, and then you show the movie to an audience, you've got to sit with an audience watching the movie, and the easiest way that you know people like your movie is when they're laughing — or if you're telling a horror movie, if they're screaming. And then also if they're crying, which I got a lot of people to do with the last Guardians movie. So I like those external things, and then in this one I really had to be sort of strict with myself when I was writing it, filming it. It's all about the character. It's about the action, which is a big deal, shooting flying in a different way. And so it's just tonally different from the movies that I've done in the past." On Why Superman's Red Trunks Are Back "There was a time when I was developing the costume, the outfit — uniform is the macho way to say it, the Superman uniform — with David Corenswet and Judianna [Makovsky, a Guardians of the Galaxy alum], our costume designer. And I came in and it was coming together, but it had the red trunks, it had the whole thing, and we really went back and forth a lot about the red trunks. I even talked to Zack Snyder about it. He's like 'I like tried a billion versions, but the trunks, it just never got there'. And I see how that's the case. I don't know about the trunks, and I wanted to use the trunks but I couldn't, I kept taking them off. And I come in, it's very colourful, the trunks are on and I'm like 'oh god, I don't know. It's just so colourful. David, how do you feel?'. He's like 'I love it'. And I'm like 'really, that colourful?'. He's like 'I'm an alien from outer space who can fly and lift buildings and I shoot laser beams out of my eyes that can dissolve things. I want kids to not be afraid of me. So what am I going to wear?'. I think that was really part of where the costume came from. And I saw the character in a new way. This was before we started shooting, of course, and this showed me how David Corenswet really took everything, every moment, very seriously in all of his choices of what he would do. And he wants to not be scary to kids. I thought that that was a a pretty cool thing that really I've kept in mind for the character ever since that moment." On Superman's Latest Battle with Lex Luthor "One of the things that was really important to me was to make a Lex Luthor who was absolutely his Superman's equal. Maybe more than — you've got to be scared of [Lex]; this Lex is scary. And it's not just because he is a bad guy, because he's pretty bad, but he has his reasons for thinking what he thinks, which you get into, and it's a lot of ideological things about what Superman represents versus what he represents as the world's most-intelligent man. And so I think that it really is this battle of ideologies between the two of them and how they look at the world. One of them is very generous in his point of view, which is Superman, and one of them is not very generous in his point of view, which is Lex. But also his intelligence and his way of dealing with the henchmen that Lex has around makes him incredibly dangerous to Superman. And when you're willing to fight and there are no rules, you always have an upper hand over the person who's willing to fight and has a lot of rules, such as Superman." On Rachel Brosnahan's Version of Lois Lane "I think Lois is a journalist of the highest order. She believes in the truth pretty much at almost any price. And that makes her a real force to be reckoned with. And one of the things, I love the romance between Lois and Superman in the original Donner film [1978's Superman starring Christopher Reeve], and think it was really beautiful, but also in a way, it was a little bit Lois 'goo-ga' over Superman, right? Because he flies around, he can pick up planets — pick up buildings at least. I wanted to really see 'why does Superman love Lois so much?'. And so from the beginning we did chemistry reads with Superman and Lois, and David and Rachel got these roles not because they were just individually great as those characters, but together as a couple they bounced off of each other in an incredibly dynamic way. I think you know from the very beginning, you start to see why she is as strong of a force as Superman is, just in a different way — and why someone as cool and as good-looking and powerful as Superman would be in love with her, and he's the one who's lucky." On the Challenges of Rebooting a Superhero That Almost Everyone in the World Knows "I think the biggest challenge is that because everyone in the world knows who Superman is and where he came from, some of that's a benefit. We don't go into origin stories in this. Everybody knows, practically everybody knows, that Clark Kent came here in a rocket as a baby sent by his Kryptonian parents, and a farm couple adopted him and brought him in. So we don't have to go through all that. That's a benefit in a way. But also so many people in this world are so intimately attached to Superman, Batman, Wonder Woman, the big three, they have specific ideas about what that character is to them. Most people have come up to me and say 'I never really related to Superman because he's just too powerful. I can't. I relate to Batman because he's like the underdog, right? I never related to Superman because he's just too powerful'. So that's something I took into account from the beginning, that a lot of people don't relate to him. I think it's a little bit to do with what we see at the beginning of the trailer — the beginning of the movie, too. And other people like Superman because he can punch planets in half. That is not really this Superman. But that's also, you've got to deal with all these different people have different ideas of what Superman is supposed to be. And you have to deal with all of them and hopefully people are able to go and say 'well, okay, I like my idea of what Superman is, let's see what this idea of Superman is. Let's sit down for two hours, watch this movie and see what it is'. I think that's what you've got to do with the DCU, because things are going to keep changing, evolving, characters aren't going to be the same as people imagine them. A lot of people keep telling me 'oh my god, you made this trailer just for me, I can't believe it'. And other people are going to feel differently about it, but they can still enjoy the story and enjoy how our view of Superman is, or whatever other DC character there is." Superman releases in cinemas Down Under on Thursday, July 10, 2025.
If you, like us, have been cooking at home much more frequently since the pandemic hit, you've probably also become more aware of your food-related waste. Luckily for us — and the environment — though, more and more companies are focusing on sustainability in the kitchen. Next on that list: Great Wrap, a compostable alternative to cling wrap that's made from 100 percent plant-based material. The Australian-owned, family-run business was co-founded by Julia and Jordy Kay, who spent 18 months developing the Great Wrap formula. While many compostable plastics can take ages to decompose, Great Wrap is made from plants and breaks down into non-toxic molecules in less than 180 days — faster than an orange peel. If you're already a sustainability warrior, you know that's an impressive feat. The cling wrap is (of course) food safe and durable as well. Each roll is 30-metres long and perforated in 30-centimetre intervals for easy tearing. And, most importantly, it's another way for home chefs to enjoy cooking while minimising their environmental impact. Apart from the cling wrap, the company also produces pallet wrap for businesses — something that's especially useful in breweries, bottle shops and other venues. It's currently out of stock, but will be back in September, so keep an eye out. For domestic use, you can buy three rolls for $29.90 or six rolls for $49.90, with free shipping on all orders — and a ten percent discount currently on offer for all new accounts too. Great Wrap has also garnered the support of online natural wine shop Drnks. If you're interested in trying the product out on a smaller scale, you can grab a single-roll order on the Drnks website for a tenner. To find out more about Great Wrap and order a three- or six-pack, head over to greatwrap.co.
Time flies when you're obsessing over a big blockbuster fantasy TV series, as HBO's biggest hit of the past decade demonstrates. This April marks ten years since Game of Thrones first hit screens and became a pop culture phenomenon — broadening the world's awareness of George RR Martin's books, pointing out how often Sean Bean meets an untoward end on-screen and delivering more dragon-fuelled drama than anyone ever knew they needed. Keen to celebrate the occasion like you're in a Westerosi tavern? That's an option, all thanks to a new collaboration between Moon Dog Brewing and Warner Bros Consumer Products. The two have joined forces on a new line of GoT beers, so get ready to sip a Breaker of Chains imperial stout and a Watchers on the Wall imperial white ale. The former features chipotle chilli, vanilla and a chocolate finish, while the latter pairs white chocolate with orange and coriander. Winter might be coming, but these brews will be available this month — so, in autumn — with the Melbourne-based Moon Dog pouring them at its Abbotsford and Preston sites from Friday, April 16. The brewery is hosting a launch party in Abbotsford the day before, then dedicating the weekend of April 16–18 to all things GoT in Preston. An Iron Throne will also be onsite, because clearly Moon Dog couldn't pass up the opportunity to let folks sit on one of the most famous chairs there is. [caption id="attachment_744585" align="aligncenter" width="1920"] Moon Dog World, Kate Shanasy[/caption] Lovers of both beer and G0T elsewhere in the country won't miss out on the brews, however, with the two beverages available via the brewery's online store and at craft beer retailers nationwide from Monday, April 19. If you decide to keep some in the fridge so that you can drink it when winter arrives, that's perfectly understandable. And if you're just excited about getting another chance to show your affection for the huge hit series — while you're waiting for the just-announced GOT stage production, and the many TV spinoffs and prequels in the works — that is, too. Moon Dog Brewing's Breaker of Chains and Watchers on the Wall beers will be available from its Melbourne venues from Friday, April 16, and online and in craft beer retailers nationwide from Monday, April 19.
If you've ever listened to a true-crime podcast, decided that you'd make a great Serial host yourself and started wondering how you'd ever follow in Sarah Koenig's footsteps, then you should be watching Only Murders in the Building. The Disney+ series follows three New Yorkers who basically follow that same process. Here, actor Charles-Haden Savage (Steve Martin, It's Complicated), theatre producer Oliver Putnam (Martin Short, Schmigadoon!) and the much-younger Mabel Mora (Selena Gomez, The Dead Don't Die) are all obsessed with a podcast hosted by the fictional Cinda Canning (Tina Fey, Girls5eva). They find themselves bonding over it, in fact. And, when someone turns up dead in their building, they decide that they can sleuth their way through the case by getting talking themselves. First hitting streaming last month, and now dropping new episodes week-by-week, the series has been unfurling its first season in a very entertaining fashion. It's exceptionally well-cast, and makes makes the most of its main trio's mismatched vibe. It's filled with hearty affection for everything it jokes about, resulting in an upbeat satire of true-crime obsessions, podcasting's pervasiveness and the intersection of the two. It adores its single-setting Agatha Christie-lite setup, it's always empathetic, and it also loves peppering in highly recognisable co-stars and guest stars such as Fey, Nathan Lane (Penny Dreadful: City of Angels), Amy Ryan (Late Night) and even Sting. With the latter, it isn't above making puns about not standing so close to him, or just serving up jokes on that level in general. Yes, it's a delight. And, although it's only five episodes in so far, Only Murders in the Building has just been renewed for a second season. So, if you'd like more of a show that's basically Knives Out, but a sitcom and also a little goofier, you're in luck. Expect another round of murder and podcasting. Expect another suspicious death in the show's Arconia building, too, given the series' title. That's great news for viewers, but probably not for the apartment block's residents — other than Martin, Short and Gomez's characters, that is. Exactly what the next season will cover and when it'll arrive hasn't yet been revealed; however, co-creator and executive producer John Hoffman said that "to carry on our show's wild ride of mystery-comedy-empathy is too exciting for words." Streaming as part of Disney+'s new Star expansion, which launched in Australia back in February this year, Only Murders in the Building enjoyed Star's most-watched premiere among its original series. So, it clearly already (and deservedly) has plenty of fans, all ready not just for the next five episodes of season one, but for another season afterwards. Check out the trailer for Only Murders in the Building below: The first five episodes of Only Murders in the Building's first season are available to stream now via Star on Disney+, with new episodes dropping weekly. Read our full review. The show will return for a second season, but exactly when that'll be hasn't yet been announced. Images: Craig Blankenhorn/Hulu.
While most Australian states and territories shiver their way through winter, the Top End becomes an ideal vacay destination thanks to its balmy dry season (which runs from May–October). And, if you needed even more reason to escape the winter chill, the region is turning up the heat this season with a stack of arts and cultural events. Sure, Australian cities are in no short supply of creative endeavours. But Darwin is different. Billing itself as the beating heart of First Nations culture and creativity, the Northern Territory's capital has long-recognised the traditional custodians of the land, specifically the Larrakia people. Fittingly, this August, it's got an epic month-long lineup of First Nations-focused exhibitions, runway shows, art fairs and a one-night music celebration. In partnership with Darwin Festival and its Beating Heart of First Nations Culture events series, we've rounded up seven must-see gigs that are not only worth the plane trip, but also represent Australia's past, present and future. So go on — book that flight. [caption id="attachment_817479" align="alignnone" width="1920"] Elise Derwin[/caption] DARWIN FESTIVAL August 5–22 Darwin's annual winter party is not shy of events this year, with music, dance, theatre, cabaret and comedy performances popping up across a whole host of Top End locations. Naturally, the three-week fest is championing First Nations performers. You can catch openair concert Buŋgul on opening night (more about this later) and the world-premiere of intercultural dance troupe Marrugeku's provocative new production Jurrungu Ngan-ga (Straight Talk) (August 13–14). The stirring show combines dance and theatre, and is inspired by both Yawuru leader Patrick Dodson and Kurdish-Iranian writer Behrouz Boochani's perspectives on incarceration. Ilbijerri Theatre Company's Heart is a Wasteland (August 11–15) — a play and (whisky-fuelled) live music show of First Nations storytelling — is one you won't want to miss. Also on the bill is singer-songwriter Sycco, of Torres Strait Islander heritage, who's playing alongside Confidence Man and Flight Facilities (August 13). To check out the full program, head to the festival's website. BUŊGUL August 5 We promised you we'd talk more about this one. Kicking off Darwin Festival is this free, openair concert celebrating the music of Gurrumul and the people of North East Arnhem Land. Born blind, proud Galiwin'ku man and award-winning musician Gurrumul (AKA Geoffrey Gurrumul Yunupiŋu) was a member of Yothu Yindi and Saltwater Band, and had a successful solo career. Dubbed 'Australia's most important voice' by Rolling Stone Australia, he remains one of the most celebrated — and commercially successful — First Nations musicians. His impact is still deeply felt and Buŋgul is set to shine a light on his genius. Featuring Yolŋu dancers, songmen and the Darwin Symphony Orchestra, the opening night event will be held at Darwin Amphitheatre at George Brown Darwin Botanic Gardens — we recommend getting in early for this one, as spaces are limited. While the concert is free, registration is required. NATIONAL INDIGENOUS MUSIC AWARDS August 7 The music at the Botanic Gardens continues on August 7 with the National Indigenous Music Awards (NIMA). The event has been celebrating Aussie music for 16 years, and every year it recognises the stellar tunes coming from First Nations musicians from every corner of the country. From emerging artists to those of international acclaim, past awards have been picked up by the likes of Archie Roach, Baker Boy, Emma Donovan, Dan Sultan, Gurrumul and JK-47. Get in on all the action and head to Darwin Amphitheatre to see who will add their names to the honour roll and catch a heap of live acts including Baker Boy, Miiesha, Electric Fields, King Stingray, Alice Skye, and Dallas Woods and Kee'ahn. [caption id="attachment_814319" align="alignnone" width="1920"] Dylan Buckee[/caption] DARWIN ABORIGINAL ART FAIR August 6–8 On the visual arts front, the first weekend of August will see the return of the Darwin Aboriginal Art Fair (DAAF). Showcasing more than 70 Indigenous-owned galleries under one roof, the fair is a unique opportunity for you to purchase artworks directly from the source. Misrepresentation of First Nations artists is not uncommon, so if you want to pick up authentic Indigenous artworks in an ethical fashion, DAAF is a surefire bet — 100 percent of sales to date go back into First Nations creative communities. The fair always has an exciting entertainment program, with this year promising dance performances, workshops, material demonstrations and artist talks, as well as food, film and fashion. You can check out the full program on the DAAF website. [caption id="attachment_814321" align="alignnone" width="1920"] Charlie Bliss[/caption] TELSTRA NATIONAL ABORIGINAL & TORRES STRAIT ISLANDER AWARDS August 2021–February 2022 The Telstra National Aboriginal & Torres Strait Islander Art Awards (NATSIAA), presented by the Museum and Art Gallery of the Northern Territory in Darwin, is the longest-running and most prestigious art awards program for First Nations artists. For 37 years, it has celebrated contemporary artworks from around the nation across a broad range of disciplines — from paintings to photography and textile works. What makes the awards so special is the diversity in storytelling; here, you can explore perspectives from coastal regions, desert towns, cities and everywhere between. Can't make it to the Top End this season? The exhibition is running right through to next year. Otherwise, you catch it from your couch thanks to the virtual gallery. [caption id="attachment_814318" align="alignnone" width="1920"] George F Photography[/caption] COUNTRY TO COUTURE August 4 Missed seeing Australian Fashion Week make history with its all-Indigenous fashion showcase this year? No worries — you can still get your fashion fix in the NT this August. Falling under the umbrella of DAAF, the National Indigenous Fashion Awards (NIFA) are set to return on August 3. Launched only last year, the awards are a celebration of the innovative, diverse and ethical practices of Aboriginal and Torres Strait Islander artists and fashion designers. DAAF even has its own runway show, dubbed Country to Couture, set to take over Darwin Convention Centre on August 4. The stylish show has run alongside the annual DAAF since 2016 and champions First Nations contemporary fine art, textiles and high-end fashion. For tickets, head to the event website. [caption id="attachment_817282" align="alignnone" width="1920"] 'Ngayuku Ngura – My Country' by Barbara Moore, acrylic on linen. Photo: Elise Derwin[/caption] SALON DES REFUSÉS August 5–September 25 Rounding out the stacked events calendar is Salon des Refusés, presented by Salon Art Projects. This year, the organisation is presenting seven Indigenous art exhibitions across five local galleries from July to September. But it's the much-anticipated aforementioned show, running from August 5 to September 25, that you'll most want to check out. Held in Charles Darwin University Art Gallery, the exhibition showcases works submitted but not accepted into NATSIAA. The high quality of works on display showcase First Nations artists from around Australia, while shining a light on the current state of Indigenous art and what its future might look like. Now in its ninth year, the event is also hosting an opening night shindig on Wednesday, August 4. Time to start planning that trip north? Darwin Festival — and its Beating Heart events — runs from Thursday, August 5–Sunday, August 22. For the full program of events, head to the website. Top image: Elise Derwin
When Barbie and Oppenheimer both released in cinemas on the same July 2023 day, they didn't take attention away from each other. Instead, Barbenheimer had everyone flocking to picture palaces to see both. Among the just-announced 2024 Golden Globe nominations, a similar phenomenon is occurring. Since these gongs split the bulk of the awards into dramas and musicals/comedies, Barbie and Oppenheimer have both scored a heap of love largely without competing. Greta Gerwig's take on the toy doll topped the list among the number of nods given to this year's contenders, nabbing nine overall. Christopher Nolan's latest was only one behind with eight. The two do face off in a few fields: Best Director, Best Screenplay, Best Supporting Actor (with Ryan Gosling and Robert Downey Jr nominated), and the brand-new Cinematic and Box Office Achievement accolade that's clearly designed to give a shiny trophy to a blockbuster (Guardians of the Galaxy Vol. 3, John Wick: Chapter 4, Mission: Impossible — Dead Reckoning Part One, Spider-Man: Across the Spider-Verse, The Super Mario Bros Movie and Taylor Swift: The Eras Tour are also in the running). Now boasting six competitors per category, the Golden Globes will anoint its latest round of winners on Monday, January 8 Australian and New Zealand time, with Killers of the Flower Moon (with seven), Poor Things (also seven) and Past Lives (with five) also joining the movie-loving party. TV earns affection at these awards as well, with Succession garnering nine nominations, followed by The Bear and Only Murders in the Building with five each. Among the other cinema highlights: Celine Song's debut feature doing so well; Greta Gerwig finally being recognised in the Best Director camp after missing out for Lady Bird and Little Women; Lily Gladstone, always; The Boy and the Heron in the Best Animation field; Suzume doing the same; not one, not two, but three Best Song nominations for Barbie, including for earworm 'I'm Just Ken'; Anatomy of a Fall and The Zone of Interest notching up nods beyond the Non-English Language category; and Barry Keoghan's Saltburn and Andrew Scott's All of Us Strangers noms. Also stellar: Emma Stone getting attention for two absolutely stunning performances on screens big and small, aka Poor Things and The Curse. From the TV contenders, The Last of Us, Barry, Beef and Fargo all thoroughly deserve their nominations. So do Elle Fanning for The Great, Natasha Lyonne for Poker Face, Rachel Weisz for Dead Ringers and Christina Ricci for Yellowjackets, even if the shows they're each in sadly didn't get enough attention overall. The television fields also completely ignored Reservation Dogs and The Other Two, two of the best shows of the year, both of which wrapped up after their third seasons. Australian actors picked up three nominations, with Margot Robbie receiving the nod for Barbie, Sarah Snook for Succession and Elizabeth Debicki for The Crown. If you're wondering what else is in the running, here's the full list of nominations: GOLDEN GLOBE NOMINEES: BEST MOTION PICTURE — DRAMA Anatomy of a Fall Killers of the Flower Moon Maestro Oppenheimer Past Lives The Zone of Interest BEST PERFORMANCE BY A FEMALE ACTOR IN A MOTION PICTURE — DRAMA Annette Bening, Nyad Lily Gladstone, Killers of the Flower Moon Sandra Hüller, Anatomy of a Fall Greta Lee, Past Lives Carey Mulligan, Maestro Cailee Spaeny, Priscilla BEST PERFORMANCE BY A MALE ACTOR IN A MOTION PICTURE — DRAMA Bradley Cooper, Maestro Leonardo DiCaprio, Killers of the Flower Moon Colman Domingo, Rustin Barry Keoghan, Saltburn Cillian Murphy, Oppenheimer Andrew Scott, All of Us Strangers BEST MOTION PICTURE — MUSICAL OR COMEDY Air American Fiction Barbie The Holdovers May December Poor Things BEST PERFORMANCE BY A FEMALE ACTOR IN A MOTION PICTURE — MUSICAL OR COMEDY Fantasia Barrino, The Color Purple Jennifer Lawrence, No Hard Feelings Natalie Portman, May December Alma Pöysti, Fallen Leaves Margot Robbie, Barbie Emma Stone, Poor Things BEST PERFORMANCE BY A MALE ACTOR IN A MOTION PICTURE — MUSICAL OR COMEDY Jeffrey Wright, American Fiction Joaquin Phoenix, Beau Is Afraid Matt Damon, Air Nicolas Cage, Dream Scenario Paul Giamatti, The Holdovers Timothée Chalamet, Wonka BEST MOTION PICTURE — ANIMATED The Boy and the Heron Elemental Spider-Man: Across the Spider-Verse The Super Mario Bros Movie Suzume Wish BEST MOTION PICTURE — NON-ENGLISH LANGUAGE Anatomy of a Fall Fallen Leaves Io Capitano Past Lives Society of the Snow The Zone of Interest BEST PERFORMANCE BY A FEMALE ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE Danielle Brooks, The Color Purple Da'Vine Joy Randolph, The Holdovers Emily Blunt, Oppenheimer Jodie Foster, Nyad Julianne Moore, May December Rosamund Pike, Saltburn BEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE Charles Melton, May December Mark Ruffalo, Poor Things Robert De Niro, Killers of the Flower Moon Robert Downey Jr, Oppenheimer Ryan Gosling, Barbie Willem Dafoe, Poor Things BEST DIRECTOR — MOTION PICTURE Bradley Cooper, Maestro Greta Gerwig, Barbie Yorgos Lanthimos, Poor Things Christopher Nolan, Oppenheimer Martin Scorsese, Killers of The Flower Moon Celine Song, Past Lives BEST SCREENPLAY — MOTION PICTURE Anatomy of a Fall Barbie Killers of the Flower Moon Oppenheimer Past Lives Poor Things BEST ORIGINAL SCORE — MOTION PICTURE The Boy and the Heron Killers of the Flower Moon Oppenheimer Poor Things Spider-Man: Across the Spider-Verse The Zone of Interest BEST ORIGINAL SONG — MOTION PICTURE Bruce Springsteen, 'Addicted to Romance', She Came to Me Mark Ronson, Andrew Wyatt, Dua Lipa and Caroline Ailin, 'Dance the Night', Barbie Mark Ronson and Andrew Wyatt, 'I'm Just Ken', Barbie Jack Black, Aaron Horvath, Michael Jelenic, Eric Osmond and John Spiker, 'Peaches', The Super Mario Bros Movie Lenny Kravitz, 'Road to Freedom', Rustin Billie Eilish and Finneas O'Connell, 'What Was I Made For?', Barbie CINEMATIC AND BOX OFFICE ACHIEVEMENT Barbie Guardians of the Galaxy Vol. 3 John Wick: Chapter 4 Mission: Impossible — Dead Reckoning Part One Oppenheimer Spider-Man: Across the Spider-Verse The Super Mario Bros. Movie Taylor Swift: The Eras Tour BEST TELEVISION SERIES — DRAMA 1923 The Crown The Diplomat The Last of Us The Morning Show Succession BEST PERFORMANCE BY A FEMALE ACTOR IN A TELEVISION SERIES — DRAMA Bella Ramsey, The Last of Us Emma Stone, The Curse Helen Mirren, 1923 Imelda Staunton, The Crown Keri Russell, The Diplomat Sarah Snook, Succession BEST PERFORMANCE BY A MALE ACTOR IN A TELEVISION SERIES — DRAMA Brian Cox, Succession Kieran Culkin, Succession Gary Oldman, Slow Horses Pedro Pascal, The Last of Us Jeremy Strong, Succession Dominic West, The Crown BEST TELEVISION SERIES — MUSICAL OR COMEDY Ted Lasso Abbott Elementary The Bear Barry Only Murders in the Building Jury Duty BEST PERFORMANCE BY A FEMALE ACTOR IN A TELEVISION SERIES — MUSICAL OR COMEDY Rachel Brosnahan, The Marvelous Mrs Maisel Quinta Brunson, Abbott Elementary Ayo Edebiri, The Bear Elle Fanning, The Great Selena Gomez, Only Murders in the Building Natasha Lyonne, Poker Face BEST PERFORMANCE BY A MALE ACTOR IN A TELEVISION SERIES — MUSICAL OR COMEDY Bill Hader, Barry Steve Martin, Only Murders in the Building Jason Segel, Shrinking Martin Short, Only Murders in the Building Jason Sudeikis, Ted Lasso Jeremy Allen White, The Bear BEST TELEVISION LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION All the Light We Cannot See Beef Daisy Jones & The Six Fargo Fellow Travellers Lessons in Chemistry BEST PERFORMANCE BY A FEMALE ACTOR IN A LIMITED SERIES OR A MOTION PICTURE MADE FOR TELEVISION Ali Wong, Beef Brie Larson, Lessons in Chemistry Elizabeth Olsen, Love & Death Juno Temple, Fargo Rachel Weisz, Dead Ringers Riley Keough, Daisy Jones & the Six BEST PERFORMANCE BY A MALE ACTOR IN A LIMITED SERIES OR A MOTION PICTURE MADE FOR TELEVISION David Oyelowo, Lawmen: Bass Reeves Jon Hamm, Fargo Matt Bomer, Fellow Travellers Sam Claflin, Daisy Jones & the Six Steven Yeun, Beef Woody Harrelson, White House Plumbers BEST PERFORMANCE BY A FEMALE ACTOR IN A SUPPORTING ROLE ON TELEVISION Abby Elliott, The Bear Christina Ricci, Yellowjackets Elizabeth Debicki, The Crown Hannah Waddingham, Ted Lasso J. Smith-Cameron, Succession Meryl Streep, Only Murders in the Building BEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE ON TELEVISION Alan Ruck, Succession Alexander Skarsgård, Succession Billy Crudup, The Morning Show Ebon Moss-Bachrach, The Bear James Marsden, Jury Duty Matthew Macfadyen, Succession BEST PERFORMANCE IN STANDUP COMEDY ON TELEVISION Ricky Gervais: Armageddon Trevor Noah: Where Was I Chris Rock: Selective Outrage Amy Schumer: Emergency Contact Sarah Silverman: Someone You Love Wanda Sykes: I'm an Entertainer The 2023 Golden Globes will be announced on Monday, January 8, Australian and New Zealand time, streaming on Stan in Australia. For further details, head to the awards' website.
What do Euphoria, Yellowjackets, Wednesday, Atlanta, Mr & Mrs Smith, Dark Matter, The Umbrella Academy, The Penguin, Overcompensating and Sirens all have in common, other than being TV shows? Next, what do they also share with Beyoncé's online footprint? Music supervisor Jen Malone is the connection between all of the aforementioned television series, with the four-time Emmy-nominee working on each of them. Then, SXSW Sydney 2025 links Malone with Dr Marcus Collins, Beyoncé's former Digital Strategy Director — because the two have just been announced on the event's Music Festival speaker lineup. When April was coming to a close, SXSW Sydney started dropping its first music acts for this year's fest. A month later as May winds down, it has now revealed the initial list of folks who'll be getting chatting as part of the conference side of SXSW Sydney 2025's Music Festival. How do you stack TV and streaming hits — and movies, too — with the exact-right songs? Malone will take to the stage to spill the details. How should you approach marketing strategy in the music business, and what can you learn from doing just that for megastars ? That's where marketing professor, For the Culture: The Power Behind What We Buy, What We Do, and Who We Want to Be author and ex-Beyoncé team member Collins will come in. Both Malone and Collins are on the bill when SXSW Sydney returns for its third year between Monday, October 13–Sunday, October 19, 2025. As it tends to each year, the festival has been unveiling its latest lineup in bits and pieces, after also revealing that there'll be more free programming and an initial look at the overall speaker lineup in recent months. "SXSW Sydney is about big ideas, bold conversations and unexpected connections. It's a chance to hear directly from the people who open doors — the buyers, curators and deal-makers — and to better understand how to cut through, stay independent or scale globally. Whether you're building a team, exploring how AI can support your creative and business goals, or just looking for inspiration from other creative industries, this is where the conversations start," said SXSW Sydney's Head of Music Claire Collins about the first round of Music Festival speakers. "We're proud to bring this talent to Sydney, and to connect them with the broader SXSW Sydney community. It's a week packed with fun, discovery, and opportunities to connect, collaborate and imagine what's next for music in our region and around the world." Malone and Collins will have company from a wide array of other SXSW Sydney Music Festival guests, such as Brian Hobbs, SXSW in Austin's Director of Music Festival Programming; Patrick Daniel from Reeperbahn Festival in Germany; Airing Your Dirty Laundry podcast host Daphne Berry; Alex Berenson, the All Flowers international label group's Senior Director of A&R; and Justin Sweeting, the founder of Hong Kong's Clockenflap Festival. Also among the names on the program so far: Hallie Anderson, who co-founded Rareform marketing team, Ode strategic agency's Jashima Wadehra, Mardi Caught from marketing and artist services outfit The Annex, music networking platform GigLifePro's Priya Dewan and Pal Norte Festival's Macarena González. If you missed it, the roster to date of musicians that'll be showing off their talents spans both international and local acts. In the first camp: Jasmine 4.t, Freak Slug and Ristband + Pivots from the UK; Slowwves from Thailand; Japan's Suichu Spica 水中スピカ; New Zealand's Serebii and Tusekah; and Cardinals from Ireland. Flying the flag for Aussie acts to begin with: Jamaica Moana, JJ4K, RICEWINE, Sacred Hearts, Swapmeet and BADASSMUTHA. In total, this year's fest is due to feature more than 300 music performances. And, that's just the live tunes side of the event. Across its 1600-plus sessions, SXSW Sydney 2025 will also boast over 550 conference and professional development sessions, 90-plus movie screenings and over 150 games. [caption id="attachment_984093" align="alignnone" width="1920"] Nina Franova/Getty Images for SXSW Sydney[/caption] [caption id="attachment_965208" align="alignnone" width="1917"] Jaimi Joy[/caption] [caption id="attachment_953711" align="alignnone" width="1920"] Jaimi Joy[/caption] SXSW Sydney 2025 runs from Monday, October 13–Sunday, October 19 at various Sydney venues. Head to the SXSW Sydney website for further details. Top image: Brendon Thorne/Getty Images for SXSW.
Dance music hits. An orchestra. Combine the two and Ministry of Sound Classical is one end result. For a few years now, this event has been giving Australia what no one probably knew they wanted when Ministry of Sound first started as a London club night back in 1991: tunes that usually fill dance floors performed by classical musicians. If you're a fan of making shapes and you're fond of getting nostalgic, then Ministry of Sound keeps indulging — sometimes by throwing huge 90s and 00s parties that nod back to raves three decades back and club nights at the turn of the century, and sometimes via this orchestral tour that gives bangers from the past 30 years a new live spin. In Australia, the latter is returning before 2025 is out, including seeing out spring in Melbourne. This year's run heads to Sidney Myer Music Bowl in the Victorian capital on Saturday, November 29, with Cassius headlining. Conducted by Vanessa Perica and with DJ Groove Terminator on backing duties, the Ministry of Sound Orchestra takes pride of place, of course, with vocalists and other talents on hand to assist. Ministry of Sound Classical is calling 2025's run a summer dance music festival — even if Melbourne's date is a few days prior — which means that a curated food and bar lineup is also on offer, as is a silent disco. As for the soundtrack, the event surveys tunes that've packed dance floors over Ministry of Sound's existence — so you just might hear classical renditions of Basement Jaxx, Darude, Röyksopp, Robin, Underworld, Moby, Fisher and more played by its orchestra. Images: Ruby Boland, Ashlea Caygill and Jack Dullard.
In Nude Tuesday, you can take the unhappy couple out of their daily routine — and slip them out of their clothes in the process — but escaping to a mountainside commune, ditching the dacks, palling around with a goat and gleaning relationship advice from the author a book called The Toothy Vulva just can't solve all woes. What that list of absurd plot points and experiences can do is fill out a film that's gleefully silly, often side-splittingly funny, and also just as perceptive as it is playful. The basic premise behind this New Zealand sex comedy borrows from plenty of fellow movies and TV shows about stuck-in-a-rut folks seeking bliss and renewal, plus solutions to bland marriages, with a gorgeous change of scenery. But helping make Nude Tuesday such a winner is every offbeat choice that's used to tell that tale. Getting naked is only part of it, given that not a lick of any recognisable language is spoken throughout the entire feature — although plenty of words and sounds are audibly uttered. Nude Tuesday understands one key point, as everyone watching it will: that relationships are all about communication. The film is also well aware that so much about life is, too — and storytelling. Here, though, expressing emotions, connections and narrative details all boils down to gibberish and bodies. This amusing movie from writer/director Armağan Ballantyne (The Strength of Water) and writer/star Jackie van Beek (The Breaker Upperers) does indeed strip down its performers in its last third, living up to its name, but it saddles them with conveying almost everything about their characters via body language before that. Each piece of dialogue spoken echoes in unintelligible nonsense, using completely made-up and wholly improvised terms. Even covers of 'Road to Nowhere' and 'Islands in the Stream' do as well. And while subtitled in English by British comedian Julia Davis (Camping), that text was penned after shooting, in one of the film's other purposefully farcical twists. The result is patently ridiculous, and marvellously so — and hilariously. It's such a clever touch, making a movie about marital disharmony and the communication breakdown baked within that's so reliant upon reading tone and posture, as couples on the prowl for the tiniest of micro-aggressions frequently hone in on. Initially, the feature needs a few scenes to settle into its unfamiliar vernacular, which takes cues from The Muppets' Swedish Chef in its cadence. Via an opening map, which situates the story on the fictional pacific island of Zǿbftąņ, Nude Tuesday's language also resembles an IKEA catalogue. But once Ballantyne, van Beek and the latter's co-stars find their groove — with a literally bloody attempt to make adult nappies sexy, a supermarket tantrum involving tossed cans and a tense anniversary dinner — everything, including the movie's chosen tongue, clicks into place. Van Beek and Australian The Tourist actor Damon Herriman play Nude Tuesday's central pair, Laura and Bruno. In the first but not last example of just how compellingly they use their physicality, the talented lead twosome paints a picture of relatable malaise from their introductory moments together. Laura and Bruno are bogged down in a dull cycle that revolves around working at jobs neither loves — she spruiks those mature-age diapers, he sells bathroom fixtures — then trudging home exhausted and exasperated to deal with their kids, and later crumbling into bed knowing they're going to repeat it all the next day. Sex doesn't factor in, and neither is content with that, but resolving their troubles themselves is out of reach. Then, they're gifted a getaway to ẄØnÐĘULÄ to assist. But this woodland getaway, run by charismatic and lustful sex guru Bjorg Rassmussen (Jemaine Clement, I Used to Go Here), wants its new guests to expose all in multiple ways. Unfurling among gorgeously lensed New Zealand scenery (with Australian Babyteeth and High Ground cinematographer Andrew Commis behind the camera), that starkers setup keeps proving savvy. It also keeps saying plenty beyond the silliness. Nude Tuesday isn't just absurdity for the sake of it, although it'd remain perfectly and thoroughly enjoyable — if slight — if it was simply that. Evoking laughs still comes fast and easily, of course, including getting giggling about coming too fast and too easily. Davis' witty subtitling fires off gags a minute, and the frequent preposterousness of it all — with orgies, drugs, a Twin Peaks-style love of logs and a penchant for ponchos all factoring in — is constantly entertaining. But there's as much heart and smarts throbbing within Nude Tuesday as there was in van Beek's also-great The Breaker Upperers, which similarly found a nifty balance between chuckle-inducing ridiculousness and insight. Here, there are as many observant layers to Nude Tuesday's dance through married misery as there are clothes shed by its cast, too — a list of performers that spans everyone from Black Comedy's Ian Zaro and Down Under's Chris Bunton to Wellington Paranormal's Karen O'Leary and Shortland Street's Yvette Parsons. Accordingly, amid the sight gags, word play, slapstick, jokes about anatomy, plus the other wonderful lashings of ludicrousness, sits a canny undressing of Laura and Bruno's deep-seated struggle to get emotionally bare-assed. At the outset, they're the strait-laced stiffs amid the unburdened and aroused. They're outsiders in this cosy, free-thinking little community of fellow A-frame cabin-dwellers, adding to the film's familiar elements. Unpacking what that means, why, how the couple became that way and what ẄØnÐĘULÄ can gift them is never a by-the-numbers journey, however. It's revelatory several times over, even if the end destination is also hardly surprising. Whether decked out head to toe or disrobing, it'd be tough to find a situation where Van Beek, Herriman and Clement didn't delight, particularly when bouncing off of each other in an anything-goes situation. Nude Tuesday's biggest names are that adaptable, that innately comedic, and that able to smoothly zip between the off-kilter and the astute. Clement doesn't have to plumb many depths, but he always plays Bjorn with the exact right dash of charm and eccentricity. Actually, Ballantyne's film itself achieves that latter feat — while finding ample emotional nooks and crannies to explore. Nude Tuesday mightn't have quite hit the spot if it had played out in English, but not because it relies upon gimmickry; rather, by peeling away the chatter, it's a sharper, savvier and funnier picture of communication struggles, and what it truly means to bare it all.
Heading off on holidays should feel like an adventure, right down to the place you choose to rest your head after a fun-filled day. With this in mind, London's Miller Kendrick Architects have come up with what might be one of the most imaginative and impressive hotels possible. Created for Visit Wales's 'Year of Legends 2017' design contest, not only does it celebrate the Welsh landscape, but it is inspired by the legend of King Arthur — and the cave him and his knights allegedly stayed in. As far as unique accommodation goes, the aptly named Arthur's Cave proves a two-for-one affair: soak in the natural surroundings in a cabin that really has been crafted to emulate a cave, and soak in a slice of British legend. It's also a case of blending the old with the new, namely all of the above with building materials and techniques. Inside the timber and glass structure — which uses locally sourced sheep's wool insulation for thermal insulation against the elements — you'll find a cosy sleeping space with a double bed, chair and woodburner, aka everything you need for snuggling up and staring out over the landscape around you. Don't spend all of your time looking outside, though; with the cabin made from plywood rib-like shapes that expand and contract, the undulating and sinuous interior is a sight to behold too. Sadly, Arthur's Cave is only available for a short season, taking bookings between now and mid-September in two sites: Snowdonia and Llŷn Peninsula. Stays range between £795 and £1995; however, you're not just getting somewhere to sleep — you're getting a one-of-a-kind pop-up glamping hotel that should be on everyone's travel bucket list. Via AWOL.
Exercise comes easy in the Harry Potter world. Between playing quidditch, evading dementors, waving wands about, bounding after Hagrid and hunting down horcruxes, Harry, Ron, Hermione and company have plenty of opportunities to get active — even when they're not hopping on a broom or apparating between places. And while the rest of us can't join them, we can imagine otherwise while wearing enchanting activewear. In their latest pop culture-themed range, Brisbane's BlackMilk Clothing is releasing a treasure trove of Harry Potter items for wizarding fans to spend their galleons on. It's the real, official deal, and it's their second HP-centric line this year. But, where their Hogwarts collection included Great Hall and Marauder's Map skater dressers, Daily Prophet leggings and house-themed high-waisted leggings, this time you can get kitted out in Gryffindor, Ravenclaw, Hufflepuff or Slytherin tanks, tights and tunics, and pretend you're training for the Triwizard Tournament. A full preview of the 16-piece range is available on the BlackMilk website, with the magical selection going on sale on December 19. If it's a Harry Potter Christmas you're after, it'd make the perfect gift — or something to wear when you're doing Harry Potter yoga, watching the films with a live orchestra, watching The Cursed Child or waiting for the Pokemon Go-like Harry Potter game to come out. For more information about BlackMilk Clothing's Harry Potter activewear range, head to their website.
Sydney's cult-followed cookie-maker Butterboy is heading south for the first time, with its Cookie Voyage pop-up store landing in a prime position at Melbourne Central. But don't wait — the crew is only serving its headline-grabbing cookies until Sunday, August 3. Bringing its full range of cookie creations to Melbourne, these daily scratch-made delights will rocket guests to flavour town. Think classic options like milk choc, Nutella and salted caramel, alongside more inventive bites like banoffee pie and banana Biscoff. And if one cookie isn't enough, Butterboy is also bringing its famed cookie tins along for the ride. Loaded with a mix of freshly baked mini cookies, it's the go-to option for sweet-tooths looking to sample more signature cookies and limited-edition flavours. The pop-up goes beyond sugary treats, too. With Butterboy fans long clamouring for a Melbourne event, the team is bringing plenty of exclusive merchandise, so there's more ways to remember your visit than just a fleeting bite. Founded in 2019 by James Sideris, Butterboy's origins began during his university days, when he began selling muffins and cookies to local cafes. Now, the brand has spread to three bustling Sydney locations, including a recent launch at Broadway Sydney. Ready to score a bite? Find Butterboy's pop-up below the Melbourne Central clock on Level 1. Open daily from 10am, this might be your only chance to experience the brand's playful, nostalgic creativity blended with top-notch craftsmanship. Butterboy's Melbourne Central pop-up is open on Level 1 daily from 10am–7pm until Sunday, August 3, with extended hours until 9pm on Thursday and Friday. Head to the website for more information.
When it was announced in April last year that German supermarket giant Kaufland was expanding to Australia, it was surprising news. Now, almost a year later, the chain has made an announcement that's even more surprising: it's not expanding to Australia. In a total 180, Kaufland today revealed to the public and its 200 local employees that it would make an "orderly withdrawal" from the Australian market. The reasons for why it has decided to pull the plug on Australia are still a bit vague, with a short statement merely saying that the company wants to concentrate on its "European core markets in the foreseeable future". The withdraw won't be so simple, either. With plans to open a slew of stores across Australian — including 14 in Victoria and three in Queensland — Kaufland has already purchased numerous properties and even, according to The Sydney Morning Herald, started construction on a store in Adelaide and a huge 115,000-square-metre distribution centre in Melbourne. The Australian reports that the company has already spent hundreds of millions of dollars here. In the statement, acting CEO Frank Schumann apologised for the "disruption" the decision will cause. Launched in 1984 and now with 1200 European stores to its name, Kaufland is owned by the Schwarz Group — the world's fourth largest retailer. The chain is big in Germany and parts of Eastern Europe, but this was set to be its first foray into a Pacific market as an alternative to Aldi. The withdrawal has shocked the retail sector — and while it might be good news to Woolworths and Coles, it certainly doesn't reflect well on the current state of the Australian retail market.
It has been 11 art-filled years since Brisbane's Gallery of Modern Art first opened its doors, and the creative riverside hub just keeps going from strength to strength. As unveiled on Friday, July 13, GOMA is now home to an illuminating new permanent work: Night Life, a brand light installation by artist James Turrell. You might be familiar with the Arizona-based artist's piees if you've been to Mona or the National Gallery of Australia (NGA). He's the one behind the sky-centred installations at both galleries — at Mona, the gazebo-like Armana lights up at sunrise and sunset each day, and at the NGA in Canberra, Within without acts as an outdoor viewing chamber to enhance your view of the sky. All up, Turrell has created 80 'skyspaces' like these around the world. Brisbane's Turrell piece isn't a standalone structure like these other two Australian works. Instead, Night Life lights up GOMA's eastern and southern white façades from within the building, using an 88-minute-long shifting pattern of vibrant coloured light developed by Turrell especially for the location. GOMA director Chris Saines describes it as "a permanent solid light installation that is a deeply immersive field of slowly changing colour." When illuminated — which it will be from sunset to midnight each and every night from this point onwards — the gallery is visible from across the river and around South Bank's cultural precinct. Commissioned for GOMA's tenth anniversary, while Night Life is a new addition, it actually ties into the gallery's history. As Saines explains, "during the development of GOMA, lead architects Kerry Clare, Lindsay Clare and James Jones envisaged an artist-illuminated 'white box' on the gallery's main pedestrian approaches. More than a decade on, Turrell's architectural light installation realises the potential of GOMA's white box façade, and completes a major aspect of the architects' original design intention." Images: James Turrell's architectural light installation at Brisbane's Gallery of Modern Art. Photograph: Natasha Harth, QAGOMA. By Lauren Vadnjal and Sarah Ward.
When your nine-to-five plays out like a well-oiled machine, it can sometimes feel like each week is a little same-same. But Melbourne is brimming with a fine bounty of things to experience and explore each and every day. So aside from casual laziness and a little lack of inspiration, there's really nothing stopping you from squeezing some adventure and spontaneity into your schedule. We've teamed up with Mazda3 to help you celebrate the little things that bring a sense of adventure to life. Shake things up, as we give you seven different detours to take each week in Melbourne. From Monday to Sunday, enrich your everyday with one completely achievable activity that inspires you to take the scenic route as you go about your daily routine. This week, Ethiopian fare, a Moroccan banquet and lots and lots of cheese. Plus, we've got your future detours sorted for the new few weeks here. All require no more effort than a tiny break from the norm — what's your excuse for not trying them all?
Next time that someone hands you a $50 note, you can be forgiven for thinking that it looks a little different — a new range of pineapples have just been released into circulation. Australia's banknotes have been getting a makeover since September 2016, when a different $5 note started doing the rounds. It was followed by a revamped $10 in 2017 and now a sparkling fresh $50, which hit the streets on Thursday, October 18. The upgraded design celebrates inventor David Unaipon, who was also the country's first published Aboriginal author, as well as Edith Cowan, Australia's first female member of parliament. They're both recognised in several ways on the new notes, with not only their portraits displayed prominently, but with microprint featuring excerpts of Unaipon's book Legendary Tales of the Australian Aborigines, plus Cowan's maiden speech to the Western Australian Parliament. [caption id="attachment_694389" align="aligncenter" width="1200"] Reserve Bank of Australia via Flickr[/caption] As well as changed artwork (albeit keeping the same colour scheme as old notes), the new $50 boast the same improved security features as the new $5 and $10 notes, which are largely aimed to stop counterfeiting. A clear window running from top to bottom is the most obvious, and contains a number of features such as a reversing number and flying bird. The note also includes microprint, as well as a patch with rolling colour. And, in great news for the vision-impaired, the new series of legal tender has a tactile feature to help distinguish between different denominations. According to the Reserve Bank of Australia, the $50 is the most widely circulated Aussie note, so expect to see quite a bit of this shiny pineapple. As happened with the other denominations, the rollout will happen gradually, as will the withdrawal of old $50s — which you can obviously still keep using. While some issues occurred when the new $5 and $10 note hit, particularly with cash-handling machines like ATMs, the RBA has consulted with banknote equipment manufacturers, retail organisations and financial institutions to minimise problems. And as for the other two values of Aussie banknotes, the revamped $20 is due in 2019 and then the new $100 in 2020. https://www.youtube.com/watch?v=ci9SMlO3Sow
It's time to hit the galleries, as The National has returned. Having launched in 2017, the massive biennial showcase of contemporary Australian art exhibition is again happening across Carriageworks, the Museum of Contemporary Art Australia and the Art Gallery of NSW. This year, the program features works from 65 emerging, mid-career and established artists in three incredibly thought-provoking and impressive exhibitions. The showcase brings together artists from all over the country, with fresh perspectives on Australia that span culture, gender and place. Expect installations, performances, sculptures, videos, paintings and drawings that examine what it means to be Australian. Here are ten highlights that you can't miss. [caption id="attachment_714608" align="alignnone" width="1920"] Zan Wimberley.[/caption] GHOST LINE BY TOM MÙLLER, CARRIAGEWORKS When you're checking out the exhibition at Carriageworks, be sure to stand outside at 11am and 4pm, when Ghost Line is activated. The installation transports viewers back in time to the days when Carriageworks was the Eveleigh Railway Workshops. The entire laneway is flooded with smoke, to the point where your view of your surroundings is completely obscured. Suddenly, it really seems as if a steam train is about to pull in, making a grand return to the old tracks that still line the path. It's a surprisingly simple yet disorienting experience, making this site-specific performance a must-see. Ghost Line is activated at 11am and 4pm every day. [caption id="attachment_714595" align="alignnone" width="1920"] Zan Wimberley.[/caption] (DIS)ORDER BY EUGENIA RASKOPOULOS, CARRIAGEWORKS Eugenia Raskopoulos' (dis)order takes on many layers. Part projected performance and part installation, the artwork instantly draws the viewer into the scene. On a life-like projection, Raskopoulos hovers over a tower of domestic appliances, then throws them one at a time onto (what seems like) a growing pile of broken junk. Of course, this pile is not growing, but, you cannot help but cringe with each perfectly timed crash. On the wall opposite, a neon sign blinks between 'order' and 'disorder', showing the thin line between those two states. The overall effect is an immersive, timely and defiant feminist performance that will keep you watching for far too long. [caption id="attachment_714751" align="alignnone" width="1920"] Zan Wimberley.[/caption] SONG FOR VON GUÉRARD BY MARK SHORTER, CARRIAGEWORKS Hidden at the back down several pitch black corridors, Song For von Guérard is easy to miss — and, depending on how easily you're disturbed, you may wish you had. Mark Shorter's piece is inspired by the 1863 Australian landscape painting by Austrian painter Eugene von Guérard titled North-east view from the northern top of Mount Kosciusko. It's a comment on how modern Australian identity has been defined by exaggerated European ideas of our country. Traverse the cave-like rooms and you'll stumble into a dimly illuminated space where a replica of the painting spans an entire wall. But watch out, on performance days those dark chambers will be haunted by Shorter's time-travelling persona called Schleimgurgeln — he takes the disturbing form of a naked man covered in feathers with boiled eggs for eyes. The character will hold a lit match over the piece, physically destroying the colonial European gaze of Guérard's painting. It's strange, it's creepy and it challenges old notions of Australian identity. Performance times are noon–6pm on March 31; April 6, 20, 27; May 4, 18, 25; and June 1, 15, 22. [caption id="attachment_714637" align="alignnone" width="1920"] Photo by Jacquie Manning. Image courtesy of the artist and Mimili Maku Arts.[/caption] KAMANTAKU TJUKURPA WIYA BY KUNMANARA (MUMU MIKE) WILLIAMS, MCA Kamantaku Tjukurpa wiya is the last in a three-year series of paintings, all created on repurposed canvas mailbags. While this is the artist's largest work, its message is bigger still. A comment on the conflict between Commonwealth and Anangu law, the painting is an urgent demand for recognition of the enduring culture, languages, power and humanity of Tjukurpa — the religion, law and moral systems of the Anangu people. It's a politically charged work, centring on an outline of Australia that isn't restricted by state or territory. The words written in Pitjantjatjara need no translation — instead, these words call for respect of the language and for the true owners of the land. [caption id="attachment_714636" align="alignnone" width="1920"] Photo Jacquie Manning. Image courtesy of the artist and the MCA.[/caption] THE AUSTRALIAN UGLINESS BY EUGENIA LIM, MCA Remove your shoes and enter the domed 'fishbowl', in which a lineup of yellow bean bags imitate a mini-cinema. Lim's three-channel video installation The Australian Ugliness is a reinterpretation of Neptune's Fishbowl restaurant in South Yarra, designed by architect Robin Boyd. The film moves through 30 architectural sites in Melbourne, Sydney, Canberra and regional locations — these include the Sydney Opera House, the Sirius Building, the Melbourne Recital Centre and the Australian Islamic Centre. Apart from the buildings, the film's central figure is the gold-suited 'ambassador' of Lim's previous works Yellow Peril (2015) and The People's Currency (2017). In her work, Lim uses architecture to convey messages on gentrification and a loss of heritage, posing the question "who holds the right to design our spaces?" Her film calls on viewers to questions what architecture says about our culture and to learn to embody the spaces we inhabit. [caption id="attachment_714583" align="alignnone" width="1920"] Photo by Jacquie Manning. Image courtesy of the artist and the MCA.[/caption] FORT THUNDER BY LUCAS ABELA, MCA Fort Thunder: An Electro-Acoustic Playground is just what it sounds like. Artist Lucas Abela encourages participants to interact and quite literally play in his installation, which is a synthesiser that generates electronic noises as you touch it. These impromptu performances follow the artist's mantra that experiential music is meant to be played more than it is observed. The 'instrument' is best played with three points of contact, but is otherwise dependent on participants' creativity. Don't expect a trance-style sound to be emitted, either — it's more akin to an amplified rock 'n' roll guitar riff. This one is a loud and intense experience, but it's also a whole lot of fun. [caption id="attachment_712623" align="alignnone" width="1920"] Daniel Boud[/caption] LICK LICK BLINK BY WILLOH S. WEILAND, MCA Willoh S. Weiland's striking new work combines film, performance and breast-shaped gelato. Lick Lick Blink is a ten-minute cinema experience, that only one person can view at a time. The work is inspired by the #MeToo movement and examines how female images are consumed in film. Expect the screen to be solely occupied by women — a rarity in mainstream cinema. And, to take this experience to a more immersive level, Gelato Messina has created a range of breast-shaped, nipple-topped, milk-flavoured ice cream cones for participants to eat while figuratively devouring the female images on screen. The chocolate coating comes in a variety of shades, which is a reflection of the female diversity that is all too often absent in film. It's truly a trip to the movies like no other — make sure to check the performance schedule so you don't miss out on this one. Lick Lick Blink screenings are free, but booking is required in-person on the day at the MCA information desk (level one). For the full performance schedule, head online. [caption id="attachment_714586" align="alignnone" width="1920"] Photo by Jacquie Manning. Image courtesy of the artists and the MCA.[/caption] HEALA BY HANNAH BRONTË, MCA Hannah Brontë's powerful audio video installation Heala combines hip-hop with themes of trauma, Country and the womb. Brontë describes the installation as "swimming in one's grief, right down to the depths of it...[and] washing off our own trauma stories". The orange drapes are meant to replicate the light and feeling of being back in the womb, while a music video of sorts is projected in the centre. The work speaks to female trauma and empowerment within the First Nations communities and beyond. Her work examines traditions of First Nations women to tell a rhythmic story of what overcoming trauma can look like, and is a powerful reminder of female strength and resilience in the face of pain and loss. [caption id="attachment_714613" align="alignnone" width="1920"] Robert Andrew, Transitional text — Buru (2016).[/caption] A CONNECTIVE REVEAL BY ROBERT ANDREW, AGNSW This transient work changes throughout the exhibition's four months. The two soil pillars of A Connective Reveal each have a string attached, which is gradually pulling the pillars to pieces. As each layer is revealed, more and more soil falls to the ground around the work. The pillars speak to the ever-changing nature of First Nations cultures and identities, and challenge the assumptions that this culture is 'bound to the past'. Like the artwork, the First Nations past, present and future is in a constant state of motion. At the same time, the wall across from these pillars holds another artwork that gradually reveals the 'bleeding' Gadigal word buduwa — a term which refers to 'warming one's hands by the fire and then gently squeezing the fingers of another person'. The word marks a cultural refusal to be marginalised, stereotyped or ignored. As this piece develops slowly over time, it's best to view it several times throughout the exhibition months. The image above is of one of Andrew's previous works. [caption id="attachment_714770" align="alignnone" width="1920"] Photo by Mim Stirling. Image courtesy of the artist.[/caption] IRHAL (EXPEL), HOPE AND THE SORROW OF DISPLACEMENT BY RUSHDI ANWAR, AGNSW Rushdi Anwar's striking work speaks directly to his experience as a Kurdish refugee, having fled his hometown after a chemical massacre in 1988. Burnt chairs are piled unstably high, giving the sense that they could topple at any moment. The wreckage is a tribute to the ruin of displacement and a home denied. At the same time, the installation offers a message of hope, as the continually rising chairs resist their destruction — a show of strength and resilience. Anwar's installation is set against the only other artwork in the room, a series of collage prints by Eliza Hutchison, titled The difference between the eternal and the infinite. Her fractured images carry a pulse nearing chaos, creating a disorientation that then turns to confrontation in Anwar's work. Together, the two works create a dialogue about the precarious state of the modern world. The National runs from March 29–July 21 at the AGNSW and from March 29–June 23 at Carriageworks and the MCA. Top image: Mark Shorter, Song for von Guérard at Carriagworks. Photo by Zan Wimberley.
The multimillion-dollar redevelopment of Sorrento's historic Continental Hotel will see the 145-year-old heritage building completely overhauled, complete with a multi-faceted hospitality offering headed up by renowned chef Scott Pickett (Estelle, Matilda) and publican Craig Shearer (North Fitzroy's Terminus, The Plough in South Brisbane). The dramatic transformation includes a slew of food and drink venues, such as the pub's main restaurant — named Audrey's, after Pickett's grandmother and cooking muse — along with a public bar and beer garden, a late-night venue, poolside and in-room dining, and a rooftop deck. The lineup will range from upscale degustation menus to casual pub fare, with an expected capacity of 5000 diners across the whole multi-venue site. The sprawling, high-profile hotel won't be short on additional function spaces either. There are plans to restore the building's original grand ballroom to its former glory to sit alongside an assortment of other private, bookable rooms. The hillside precinct will also eventually be home to a new 108-room luxury InterContinental Resort Hotel and a wellness centre. [caption id="attachment_823638" align="alignnone" width="1920"] Parker Blain[/caption]
A book described as "a modern story of sex, erotica and passion. How the sexiest sales girl in business earns her huge bonus by being the best at removing her high heels," might not be anything to write home about. But what if the author of said book was someone's dad, and that someone decided it would be hilarious to read a chapter every week to the entire world, with some incredibly funny friends providing commentary? Jamie Morton did just that with his father's (pen name: Rocky Flinstone) erotic 'novels', the Belinda Blinked series. And so the audacious and pants-wettingly hilarious podcast My Dad Wrote a Porno was born. Since its premiere in 2015, the podcast about "the best/worst erotica ever written" has racked up over 150 million downloads. And now, off the back of an HBO Original Series featuring a "lost chapter", Morton and his pals James Cooper and Alice Levine are bringing their hilarious smut back to Australia and New Zealand in 2020. As part of a huge world tour, the live show will treat 'Belinkers' across Sydney, Melbourne, Brisbane, Adelaide, Perth, Auckland, Wellington and Christchurch in January. Team Porno will read unreleased material from the erotic saga while throwing in a few surprises and interactive elements. Now four books deep — with the fifth due to be cracked opened on Monday, September 9, 2019 — the series follows the sexual escapades of Belinda Blumenthal who works in the sales and marketing department of a pots and pans company. There have been leather rooms and nipples as big as Titanic rivets, anti-erotic ridiculousness with sales reps and young-ish men, references to pomegranates and the popping of vaginal lids, and one truly disgusting flaking prosthetic appendage. If you're a fan of the show, the live incarnation should make you very happy. As Belinda says, "When you get what you want, you feel great." https://www.youtube.com/watch?v=7WotAuoFwF0 'MY DAD WROTE A PORNO' WORLD TOUR 2020 Wednesday, January 8, Sydney Opera House, Sydney Saturday, January 11, Crown Theatre, Perth Monday, January 13, Thebarton Theatre, Adelaide Wednesday, January 15, Palais Theatre, Melbourne Friday, January 17, The Tivoli, Brisbane Monday, January 20, Auckland Town Hall, Auckland Tuesday, January 21, Wellington Opera House, Wellington Wednesday, January 22, Issac Theatre Royal, Christchurch Tickets for My Dad Wrote a Porno World Tour go on sale at 1pm on Thursday, July 18, 2019. Stay tuned for further updates.
There ain't nothing quite like country music, is there, partner? First popping up in the American South more or less a century ago, it's a simple yet satisfying genre that has found fans worldwide. Some of the most recognisable artists in history have been country singers — with a podium including Dolly Parton, Elvis Presley, Johnny Cash, Shania Twain, Kenny Rogers and more. If you know or love any of the above artists, you'd best secure some tickets to the upcoming Country by Candlelight tour. Having sold out theatres across the UK, it's headed down south (or down under, in this case) to tour across Australia and Aotearoa throughout February and March. After a series of February shows in NZ, the Australian tour will arrive in Queensland for a Gold Coast show at The Star Theatre on Sunday, March 1. The following week, it's Sydney's turn at Darling Harbour Theatre on Sunday, March 8, before moving to Melbourne Town Hall on Thursday, March 12. Then, the tour will hop across the country to PCEC Perth on Sunday, March 15, before an additional Queensland show at QPAC Brisbane on Thursday, March 19. Finally, the tour will conclude in South Australia at Her Majesty's Theatre, Adelaide, on Sunday, March 22. Each show starts at 7.30pm and should wrap up (encores notwithstanding) by 10pm. Country by Candlelight will tour across cities in Australia and New Zealand from Sunday, February 15 to Sunday, March 22. For more information or to book tickets, visit the website.
Australia's theatre scene hasn't had much to smile about in 2020; however, before the year is out, some venues around the country will kick back into gear with a little help from their friends. Well, with Friends! The Musical Parody to be specific — with the comedic, song-filled satire of everyone's favourite 90s sitcom touring the country in November and December. Scheduled to kick off in Melbourne before being there for audiences in Brisbane, Perth, Adelaide and Sydney, Friends! The Musical Parody will spend time with Ross, Rachel, Chandler, Monica, Joey and Phoebe, of course. Here, they're hanging out at their beloved Central Perk — and sitting on an orange couch, no doubt — when a runaway bride shakes up their day. Call it 'The One with the Loving, Laugh-Filled Lampoon', or 'The One That Both Makes Good-Natured Fun of and Celebrates an Iconic Sitcom'. Yes, no one told you that being obsessed with the Courteney Cox, Jennifer Aniston, Matthew Perry, Matt LeBlanc, Lisa Kudrow and David Schwimmer-starring show about six New Yorkers would turn out this way — with on-stage skits and gags, recreations of some of the series' best-known moments, and songs with titles such as 'How you Doin?' and 'We'll Always Be There For You'. That said, no one told us that being a Friends aficionado would continue to serve up so many chances to indulge our fandom 16 years after it finished airing, including via an upcoming reunion special that'll gather the TV series' main cast back together. A hit in New York and Los Vegas, Friends! The Musical Parody was actually due to make its way around the nation from August–September, but then came the COVID-19 pandemic. If you already had a ticket for an earlier date, you'll be, contacted about the rescheduled dates. FRIENDS! THE MUSICAL PARODY AUSTRALIAN TOUR: Comedy Theatre, Melbourne: Wednesday, November 4–Saturday, November 7 Tivoli Theatre, Brisbane: Thursday, November 19–Saturday, November 21 Regal Theatre, Perth: Saturday, November 28 Her Majesty's Theatre, Adelaide: Friday, December 4 Riverside Theatres, Parramatta: Thursday, December 17–Saturday, December 19 https://www.facebook.com/friendsthemusicalau/photos/a.1094246727578341/1225756067760739/?type=3&theater Friends! The Musical Parody tours the country from Wednesday, November 4–Saturday, December 19. For further details, and to buy tickets, visit the production's website.
When the sun is out, no one wants to be inside. Perhaps it's the tentative terms on which Melbourne has us hanging, but there are certainly no guarantees that those warm, glowing rays of sunshine are going to stick around any longer than it takes to finish a latte. So, with spring upon us and the promise of clear mornings and golden afternoons, we tracked down the ten best cafe courtyards so that you can enjoy every brunch, lunch, coffee or beer in the sun. 1. The Stables of Como Nestled within the exquisite grounds of Prahran's Como House, The Stables of Como is perhaps Melbourne's most idyllic brunch spot. Opened by Melbourne cafe magnate Jason Jones (Porgie + Mr Jones, Friends of Mine) in July, the space is light, white and pastoral, whilst offering up some incredible brunch and lunch options that have been perfected at his other venues. Enjoy bircher muesli, eggs or the famous smashed avocado with thyme buttered mushrooms, marinated feta and torn basil on whole wheat toast ($17.90) under the umbrellas, or take a fresh baguette or Noisette pastry ($4) with you as you wander the grounds. The Stables also offer take away picnic baskets ($45 pp) complete with cutlery, a blanket and cheeseboard, for you to take out on the Como lawns. Cnr Williams Road & Lechlade Ave, South Yarra, (03) 9827 6886, thestablesofcomo.com.au 2. Farm Cafe Come summertime, Abbostford Convent is buzzing with film, art and music, and it's an easy wander past the main entrance to the Collingwood Children's Farm and the adjoining Farm Cafe. The place is a rustic dream — take a seat under the large undercover seating area, or at one of the tables dotted around the garden if you don't mind getting up close and personal with the chickens. Live out your farmyard fairytale with the Ploughman's Lunch (ham off the bone, pickles, cheddar, apple, pork scratchings, bread and butter; $17.50) or try an organic beef sausage roll (served with herbed slaw and house relish; $12.50). The impressive menu, secluded location and cute animals make it perfect for a spring day. Collingwood Childrens' Farm, 18 St Heliers Street, Abbotsford, (03) 9415 6581, farmcafe.com.au 3. Pope Joan Pope Joan may have been known as the woman who passed as a man, but now she's known as the queen of Nicholson Street. Sharing a sun-drenched courtyard with The Bishop of Ostia next door, it's a Brunswick go-to for outdoor eating, drinking and whiling the afternoon away. As well as breakfast and lunch seven days a week, the venue is now open for dinner weeknights, serving up snacks such as crispy prawn dumplings ($4 each), salads and mains, including the steam-baked Chatham Island cod with fennel and braised white onion ($26). It's perfect for casual mid-week dining any time of the day or night — particularly when it's nice enough to sit outside. 75-79 Nicholson Street, Brunswick East, (03) 9388 8858, popejoan.com.au 4. Trunk Bar and Restaurant Located on Exhibition Street, Trunk boasts perhaps the CBD's largest and leafiest courtyard. With both a formal dining room and outdoor diner, Trunk's courtyard is a haven for hungry workers looking for a chorizo quesadilla ($10) or Cuban baguette ($10.50) for lunch, or an after-work drink come 5pm. And, on a hot night, with a boutique beer, pizza or a few plates of antipasti, there'a a distinct garden party feel that will have you forgetting exactly where you are. 275 Exhibition Street, Melbourne, (03) 9663 7994, trunktown.com.au 5. Sebastian's Food & Wine Bayside residents love an excuse to get outdoors, and Sebastian's Food and Wine is no exception. Adjacent from Hampton station, Sebastian's is most recognisable in the summer months from the hubbub emanating from the large, open courtyard. Join the crowds for brunch of corn fritters ($17) or a forest mushroom omelette ($18), or arrive a little later for lunch — available over the counter or from the kitchen. Capitalising on excess space that is only found in the suburbs, the cafe's big umbrellas and leafy trees may well see your Supreme coffee turn into a glass of wine once brunch is over. 303 Hampton Street, Hampton, (03) 9533 4755, sebastianfoodandwine.com.au 6. Kanteen A pit-stop for bike-riders, early-risers and those ambling along the Yarra at any time of day, Kanteen is the oasis in the middle of Abbotsford and the CBD. Due its isolated location, the cafe cuts a solitary figure along that winding body of water that cuts the city in half. Great for a spot of breakfast on your way into the city, the cafe serves up the favourites, and a very tasty bowl of black sticky rice with banana and coconut milk ($9.50). The inside-outside design means that you can sit undercover or exposed to the elements. It's about as riverside as it gets. 150 Alexandra Avenue, South Yarra, (03) 9827 0488, kanteen.net 7. Porgie + Mr Jones If you're looking for brunch, lunch or just somewhere to retreat into reverie, this is the place to do it. Porgie + Mr Jones is bustling regardless of the day of the week, but it's a table in the 'secret garden' that you'll want to get your hands on. The expansive outdoor garden terrace is a haven within a busy pocket of Hawthorn, and the perfect place to enjoy the herb and cheesy toast with eggplant kasundi ($11.90) with a coffee, the weekend paper and some sun. 291 Auburn Road, Hawthorn, (03) 9882 2955, porgiemrjones.com.au 8. Howler While not as intimate as a cosy cafe, Brunswick's multi-faceted eating, drinking and cultural space, Howler, does well to reflect the area's grungy past and industrial surroundings. As well as two bar spaces, Howler boasts a huge outdoor area that is open from 11am - 1pm each day, serving drinks along with Asian-style hawker food. Get down to sink your teeth into juicy bao pillows and steamed dumplings ($8) in the afternoon, and stay for the DJ sets when the sun goes down. 14 Dawson Street, Brunswick, (03) 9077 5572, h-w-l-r.com 9. Industry Beans Sitting in Westgarth Street, Industry Beans spills onto the sidewalk. An open warehouse that houses a roastery and cupping lab as well as the cafe, the well-utilised space is welcoming both inside and out. While the clean, high-ceilinged interior is pleasant in its own right, it's the open courtyard that keeps people coming back. Explore their rich house blend and some of their more unique menu items, such as the creamed lemon tofu breakfast brulee ($14) or the deep fried panko crumbed eggs ($15). 70 – 76 Westgarth Street, Fitzroy, (03) 9417 1034, industrybeans.com 10. Chez Dre It would be quite easy to walk down Coventry Street without even noticing Chez Dre. Tucked behind the busy South Melbourne strip, discovering this patisserie and boulangerie is a very pleasant — if not overwhelming — surprise. With the sugar-power to rival Willie Wonka, Chez Dre's cabinets are lined with dozens of decadent cakes, pastries and macarons. While hectic on the weekends, attempt to escape to the tranquility of the courtyard to nibble on your findings. Just be sure to balance it out with something savoury from the menu — either before or after you dive in. Rear 285-287 Coventry Street, South Melbourne, (03) 9690 2655, chezdre.com.au Images courtesy of The Stables of Como, Farm Cafe, Pope Joan, Trunk, Sebastian's Food and Wine, Rexness, Porgie + Mr Jones, Sean Fennessy and Chez Dre.
Seven First Nations artists have been celebrated at the Telstra National Aboriginal and Torres Strait Islander Art Awards on Friday, August 7. Held for the first time in a special live-streamed virtual ceremony, this year's Telstra NATSIAA was presented by journalist and Gamilaroi woman Brooke Boney, who announced the winners across several categories, each with a cash prize. The artists were chosen from a suite of 65 finalists by this year's judging panel: Director of Injalak Arts Donna Nadjamerrek, Darwin-based visual artist Karen Mills, and Curator of Araluen Arts Centre Stephen Williamson. Each artist represents a different community, and they've shared stories of their land, the sea, their history, creation and healing through a variety of styles and mediums, highlighting the enormous and diverse talent of Indigenous artists from across the nation. You can see all the finalists' works in this year's Telstra NATSIAA via the virtual exhibition, and you can also sling a vote for your favourite artwork online in the Telstra People's Choice Award. Check out the seven winners from this year's awards, below. NGARRALJA TOMMY MAY Winner of the Telstra Art Award 2020 — prize $50,000 Wangkajunga/Walmajarri man Ngarralja Tommy May has been awarded this year's major prize in the Telstra NATSIAA. The piece, titled 'Wirrkanja' (2020), depicts flood time on the artist's country in the Great Sandy Desert. The now Fitzroy Crossing-based artist has been pioneering his unique style in a career spanning three decades; this year's judging panel noted 'Wirrkanja' shows May at his peak with a work that displays "exquisite beauty and power". May says his work shows a place significant to him; "It's the country where I lost my brother, it's jilji (sand dune) and flat country. There's a jila (living spring waterhole). It's not far from Kurtal, over two sand dunes. In flood time, the water runs down the jilji (sand dunes). This is my country and my family's country. This is my job, it's a good job." JENNA LEE Winner of the Wandjuk Marika 3D Memorial Award (sponsored by Telstra) — prize $5,000 Larrakia/Wardaman/Karajarri artist Jenna Lee lives in Brisbane. Her entry artwork was created in response to the 250-year anniversary of Lieutenant James Cook's arrival at Botany Bay, marked this year. 'HIStory Vessels' is a reconstruction of the cover of a Ladybird History Book, The Adventures of Captain Cook. The interdisciplinary artist was inspired to create the artwork during an artist residency in the UK, to reclaim the omnipresent, white, patriarchal narrative of Cook and its impact on First Nations stories. She says, "I aim to take this narrative and reconstruct it as a story of personal and cultural resilience, beauty and strength." CECILIA UMBAGAI Winner of the Telstra Emerging Artist Award — prize $5,000 Painting on bark that was harvested from her country in the West Kimberley region, young Worrorra woman Cecilia Umbagai says she likes to use traditional materials to create her contemporary depictions of Wandjina Wunggund law, the dreaming stories of her people. The artist usually works across several mediums including acrylic on canvas and photography, and she only started working with bark in 2019. The artist says she loves the texture of the bark with its "curves and irregularities". Using earth pigments on stringybark, Umbagai's winning entry 'Yoogu' is based on traditional cave drawings of the Wandjina spirit of the boab tree, a story she remembers being told as a child. SIENA MAYUTU WURMARRI STUBBS Winner of the Telstra Multimedia Award — prize $5,000 The youngest finalist in this year's Telstra NATSIAA is 18-year-old artist Siena Mayutu Wurmarri Stubbs. The winning artwork is a poem and film inspired by a school trip in 2019. Shinkansen was made on the Shinkansen (bullet train) from Nagoya to Kyoto in Japan. The Yolŋu Matha woman has grown up surrounded by her culture, family and Yolŋu lore, which she explores in all of her artistic endeavours. In such a short career the artist and filmmaker has already won multiple awards for her non-fiction, and curators remark that her work conveys a maturity beyond her years. ADRIAN JANGALA ROBERTSON Winner of the Telstra General Painting Award — prize $5,000 In his artworks, Alice Springs-based Warlpiri artist Adrian Jangala Robertson often refers to his mother's country, Yalpirakinu. Revering the ridges, trees and desert mountains that make up the landscape, Robertson's painting style is described as being loaded with energy and drama. Born in Papunya in 1962, Robertson witnessed the emergence of the Western Desert painting movement, which informs his style to this day. Typically using a minimal range of colour, the widely respected landscape artist injects character and movement into his work with brushstrokes that he says are his connection to his country and "loaded with memories". His winning artwork is a synthetic polymer paint on canvas titled 'Yalpirakinu' (2020). MARRNYULA MUNUŊGURR Winner of the Telstra Bark Painting Award — prize $5,000 Coming from a lineage of prolific and award-winning bark painters, Yirrkala-based Munuŋgurr, of Djapu and Balamumu clans, has carried on the tradition of her family in her creation of ground-breaking bark installations. The artist grew up assisting both of her parents with their own bark work, and in particular her father Djutjadjutja with his sacred Djapu paintings that also won him the Bark Painting Award in the 1997 NATSIAA. For this year's award, Marrnyula created a cross hatching grid pattern — a sacred design for the freshwaters of the Djapu clan at the clan's homeland of Waṉḏawuy. Unlike her other well known artworks in which the artist creates large-scale installations using hundreds of small pieces of bark, this time the artist has chosen to create the same effect on just one piece of bark. The winning stringybark is titled 'Muṉguymirri' (2020), which means 'in small pieces'. ILUWANTI KEN Winner of the Telstra Works on Paper Award — prize $5,000 Pitjantjatjara artist Iluwanti Ken, who is from Watarru and now based in Rocket Bore community in the NT, says birds have lessons for Anangu women about how to hunt and how to care for one's children. A highly respected ngangkari (traditional healer) and a skilled tjanpi (grass sculpture) weaver, Ken is mostly known for depictions of hunting eagles. Ken's winning ink on paper entry, 'Walawulu ngunytju kukaku ananyi (Mother eagles going hunting)', tells the story of female adult eagles hunting for food and bringing it back to feed their babies. The artist says birds are like Anangu mothers in that they protect their babies from outside dangers. Take a look at the virtual gallery and vote for your favourite artwork in the 2020 Telstra NATSIAA People's Choice Award. Top image: Njarralja Tommy May by Damian Kelly.
How many times have you walked through Federation Square, whether rushing to Flinders Street Station, hopping on or off a tram, checking out a sporting event on the site's big screen or hitting up a nearby venue? How well do you know the public space in your mind, then? It's up there with the MCG as one of the first places that anyone thinks of when they think about Melbourne, but both locals and visitors alike will see it as they've never seen it before when June hits and RISING 2024 arrives. The Victorian capital's annual winter arts festival — because Vivid Sydney doesn't have a monopoly on citywide cultural celebrations at this time of year — will run from Saturday, June 1–Sunday, June 16. One of its centrepieces is a spot that everyone is bound to go to anyway, but turning Fed Square into a showcase of First Peoples' art and politics. The free exhibition and public program is called The Blak Infinite, and will boast Richard Bell's EMBASSY as its centrepiece. Inside the work, which is inspired by the original Aboriginal Tent Embassy in Canberra in the 70s, talks will be held every Saturday, while films will screen daily. Make sure that you spend time looking up at Fed Square during RISING 2024, too; each evening, projections will take to the heavens, telling tales of Sky Country and the cosmos. On the site's big screen, Ellen Van Neerven's speculative fiction will feature. And keep an eye out for Kait James and Tony Albert's contributions, with one digging into and subverting souvenirs via collage, and the other going big and colourful with large-scale installations. The Blak Infinite leads the highlights on RISING's full program for this year, which has been unveiled after a couple of past announcements for the June fest. So, audiences should already be excited about Counting and Cracking and Communitas. The first brings the acclaimed Sri Lankan-Australian stage saga to Melbourne finally, and the second involves 'Love Tonight' talents SHOUSE throwing a music party that'll fill Melbourne's St Paul's Cathedral with hundreds of people making tunes as part of a choir. There's 105 events featuring 480-plus artists all up — including 23 newly commissioned works, plus six that are making their world premiere — with tunes also at the heart of the newly revealed Day Tripper, a festival within the broader festival over the King's Birthday long weekend. Melbourne Town Hall will be its hub, but the event will take over an entire block, including the Capitol Theatre and Max Watt's. And, you'll only need one ticket to hit it all up. Music-wise, Yasiin Bey, who was formerly known as Mos Def, leads the Day Tripper bill with a tribute to MF Doom. The rest of the lineup includes almost every genre that you can think of from hip hop and disco to post-punk and acid house. There'll be dance works, video pieces and brass bands as well — and Bar Italia, Asha Puthli, HTRK, Richard Youngs and more taking part. Love music films? Make a date with 24 Hour Rock Show, which British Turner Prize-winning artist Jeremy Deller first staged in Finland in 2015. It'll play rock documentaries back to back for a whole day and night, and for free. If you're up for it, catching the full 24 hours will be a wild cinema endurance test. Bey isn't only appearing at Day Tripper, but also at PICA to perform his 2009 album The Ecstatic. On the rest of RISING's music roster, ONEFOUR, Fever Ray, The Dirty Three playing their home town for the first time in 14 years, Sky Ferreira, Tirzah, Blonde Redhead, Snoh Aalegra and Moktar also pop up. For trance fans, UK producer Evian Christ has an exclusive show for the festival — and, for something complete different, Deller's Acid Brass is staging free public concerts. Once more linking tunes with the big screen, Hear My Eyes is back with a screening of Hellraiser. Hieroglyphic Being aka Jamal Moss is doing an all-new score for the horror classic, while visual artist Robin Fox will add a live laser performance. RISING attendees will also be able to enjoy The First Bad Man by Ireland's Pan Pan Theatre, which is based around Miranda July's novel and described as "a performative book club" — and ILBIJERRI Theatre Company's Big Name No Blankets, which dives into the Warumpi Band's history. Or, there's the first chapter of The Cadela Força Trilogy, examining sexual violence in art history; First Peoples' futuristic drag show ECLIPSE; inclusive club night CRIP RAVE THEORY; and eight hours of 8/8/8: REST, the second part in a triptych that began at RISING 2022 with 8/8/8: WORK. At a festival that's all about showing folks something that they won't see every day, SONG HISTOIRE(S) DU THÉ TRE IV certainly fits, too: as conjured up by Flemish artist Miet Warlop, it involves musicians playing just one song over and over, all while partaking in an obstacle course featuring trampolines, treadmills and balance beams. So does FOOD, which is set at an illusionist's dinner party, and has audiences sat around the stage-sized table to dive into the history of its namesake. Also on the program: the return of The Rivers Sing, the Melbourne Art Trams unveiling their latest First Peoples' works, Bell's Pay the Rent making a Melbourne comeback over a decade since debuting in the city, plus nightly social club Night Trade. [caption id="attachment_945445" align="alignnone" width="1920"] Brett Boardman[/caption] RISING 2024 runs from Saturday, June 1–Sunday, June 16 across Melbourne. Head to the festival's website for further information and tickets, with latter on sale from 12pm on Tuesday, March 12 for subscribers and 12pm on Thursday, March 14 otherwise. Top image: Damian Raggatt.
Whatever else the past couple of years have served up, it has been an impressive time for folks who like staring up at the sky. 2016 ended with a huge supermoon that had everyone looking to the heavens, then 2018 began with an extremely rare super blue blood moon (a supermoon, a blue moon and a total lunar eclipse all at once). Next, at the end of July, an epic lunar eclipse will mark the next notable celestial happening. In fact, the Saturday, July 28 event will be longest lunar eclipse of this century — with the penumbral eclipse lasting just shy of four hours (236 minutes, to be exact) and the total lunar eclipse spanning 103 minutes. If you're wondering what the difference is between the two (because we're all more familiar with The Mighty Boosh's take on the moon than actual lunar terms, aren't we?), a penumbral eclipse is when the earth's outer shadow falls on the moon's surface, while a total lunar eclipse involves the moon passing directly into the earth's actual shadow. During the main event, which is expected to kick off at 5.30am local time, the moon will also turn a blood-red shade thanks to sunlight that's filtered and refracted by the earth's atmosphere. So yes, as well as a total lunar eclipse and a full moon, it'll be a blood moon as well. Australians will be able to spy the penumbral eclipse from 3.14am and the partial eclipse from 4.24am, before the full thing at 5.30am, with the maximum eclipse occurring at 6.21am. We won't be able to see the end of it, however, as the moon will be below the horizon when the full, partial and penumbral eclipses end (at 7.13am, 8.19am and 9.28am local time, respectively). While it's a great excuse to go stargazing, the 103-minute total eclipse only just pips the 100-minute event that took place on June 15, 2011 — and falls just short of the 108-minute event on July 16, 2000. Still, when the super blue blood moon did come around earlier in 2018, its full eclipse only lasted 72 minutes. If you miss it, 102-minute total lunar eclipses are expected in 2029, 2047 and 2094 — but nothing this long will occur again this century. Via Space.com and timeanddate.com.
Thirteen years after Stephen Chbosky wrote his endearing best-seller The Perks of Being a Wallflower, the writer-turned-director has adapted his modern coming-of-age classic for the silver screen, starring Emma Watson, Logan Lerman and Ezra Miller. Set in Chbosky's hometown of Pittsburgh in the early '90s, the story follows 15 year-old Charlie (Lerman) as he navigates the social minefield of a new high school. The introvert freshman is used to living life as a wallflower. Taken in by two seniors, the beautiful and enchanting Sam (Watson) and her step brother Patrick (Miller), Charlie finds out what it really means to live, love and to enjoy being a misfit. Concrete Playground has ten double passes to giveaway to see The Perks of Being a Wallflower. To be in for a chance to win a double pass, make sure you're subscribed to Concrete Playground's weekly newsletter, then email your name and postal address to hello@concreteplayground.com.au
Thought bingo was for your nan? Think again. It's also for you — or perhaps, if she's a groovy gran, for the both of you. Hijacking the traditional format of bingo with raves, conga lines and lip sync battles, Bingo Loco is 50-percent one of those strange dreams you get after eating too much cheese and 50-percent just a walloping good time. Come Friday, May 8 at 170 Russell, the MC will keep the night rolling, while confetti showers and smoke cannons will go off throughout the evening (perhaps wear your glasses). Bingo ravers will compete for ultimate glory (and prizes) over the course of multiple rounds. In between the traditional bingo games, you'll be expected to groove to classic 90s rave bangers, partake in dance-offs and battle others for lip sync queen titles. Basically, be prepared for many high-octane, energetic activities — gone are the days of simply raising your hand when you've got a full sheet of numbers. Doing your stretches and vocal warm-ups first are advised. You'll vie for prizes, which in the past have included Coachella tickets, mobility scooters (nan, listen up), boats and lawnmowers (maybe for your dad), among other goldmines. Bingo Loco has been running across the globe for a few years and now will trumpet its way around Australia once more, with proceeds going to the Make-A-Wish Foundation Australia.
Melbourne loves a good pub revamp and the latest is a doozy, breathing new life into a sunny corner site in the heart of South Melbourne. In the 169-year-old building formerly home to The Market Hotel and The Star Hotel, Tyson and Ashleigh Chambers (Melbourne Food and Brew, Golden Hills Brewery) have unveiled their latest project, known as Hotel South Melbourne. In its previous lives, the Clarendon Street boozer played host to music legends like AC/DC and Nick Cave. Now, it's jumping into a new phase of existence complete with a refreshed fitout and a renewed gastropub focus. It's a breezy, light-filled affair with lofty ceilings throughout, a spacious front bar, sunny beer garden and 120-seat dining room. Stripping out the tired interiors of yesteryear, the owners have infused the space with more modern charms, playing warm timber and exposed brick against considered pops of colour and a splash of terrazzo. There's sport on the screens, the Chambers' own signature brews on tap, and a variety of private spaces for gatherings of all sizes and occasions. Hotel South Melbourne's multi-faceted culinary offering comes courtesy of chef Lewis Bryce (Supernormal), celebrating elevated pub classics with a modern Australian edge. Here, the public bar is your go-to for a casual feed, slinging small plates, steaks, burgers and other favourites alongside a range of pizzas — think hot salami and prosciutto with pickled chilli and honey, or perhaps the oozy potato, brie and artichoke number. Meanwhile, the pub's main restaurant steps things up a gear, beginning with snacky options like beef tartare, cacio e pepe croquettes and grilled scallops with preserved lemon butter. Slow-cooked lamb shoulder is matched with marinated eggplant, saltbush and a romesco sauce; garlicky linguine marries spanner crab and clams; and a half roast chicken is done with miso butter, leek and crispy skin. The tap list invites you to get acquainted with Golden Hills Brewery drops like the Mexican lager, a biscuity American amber ale, and the blood plum and feijoa sour. The wine offering leans local with a handful of options also by the carafe, and the cocktail lineup is filled with gently tweaked favourites. Try the spritzed fusion of limoncello, thyme and prosecco, or go for the bar's take on a sbagliato featuring Davidson plum. Find Hotel South Melbourne at 160 Clarendon Street, South Melbourne. It's open daily from 12pm–late. Images: Griffin Simm
I Know There's a Lot of Noise Outside but You Have to Close Your Eyes is a provocative nugget of a show — compact, elusive and funny. Performers Zoey Dawson and Anna McCarthy devised the piece in collaboration with writer and director Allison Wiltshire, and NIDA Independent has joined Melbourne performance collective I'm Trying to Kiss You to bring the piece to Sydney following its premier at the Melbourne Fringe in 2011. The piece is a deconstruction of standard theatre and the formulaic representations of women. Its abandon is refreshing, but the chaos, however organised, is perplexing. Two childhood friends are meeting each other for a girls' night out after a long time apart to compare their respective success in life. Like a 10-year school reunion, it's a cloak-and-dagger battle of egos presented as cattiness with a smile. McCarthy compliments her friend with a side insult, "I love your dress, it’s hilarious", whilst Dawson patronises, "You're still single? That's OK." This premise, which could easily follow the narrative of drunken admissions of childhood resentments followed by a sentimental reconciliation, unravels instead into a beat poetry dream sequence revealing their inner rage, desire and boredom. The show targets the ideal of women as having to simultaneously beautiful, polished and smart, and to this end Dawson's parody of Cate Blanchett's Oscar acceptance speech for The Aviator is hilarious and accurate. Standing in the spotlight atop a messy pile of chairs, draped in some old netting, she finishes the acceptance speech with, “Sorry, what was I saying?” This empty sentence becomes a repeated motif throughout the show, as the pair drift in and out of comprehensible thought and mindless chatter. The noise they create with their babble does make you want to close your eyes (and ears), as the show's title recommends, but the irritation is an effective way of exposing the banality of everyday conversation. The accuracy of their middle-class, twenty-something, Australian vernacular is excruciatingly good. Their dialogue shatters into mechanical units of speech and each performer flies off on tangential monologues. We quickly farewell any notion of narrative continuity and try our best to follow their thoughts. At times we're on board, at others we're squinting at the dimly lit edge of some woman's reality. The intangible nature of the show is a challenge to the audience to make head or tail of the two women's identities and motives. It's radically non-dramatic and radically non-didactic. This elusiveness means that the creative team can be equally commended for their innovation and criticised for their lack of clarity. But this isn't entertainment; it's an upright middle finger to conventional theatre and its representation of women. The show is as interesting as it is frustrating. This review was written based on the Sydney run of this production, in March 2013 at the NIDA Parade Theatres.
Brisbane's BlackMilk Clothing is well known for its pop culture-themed attire, releasing everything from Star Wars outfits to Harry Potter activewear in the past. Unsurprisingly, anything designed around the Boy Who Lived always proves popular — so much so that the company is launching another collection, this time specifically inspired by Hogwarts' houses. Whether you're keen to deck yourself out in red Gryffindor tartan pants, don a Slytherin letterman jacket with a snake embroidered on the back or pop on some blue Ravenclaw leggings, you'll be able to do just that. You'll be able to opt for some gold-hued Hufflepuff pieces, too, of course. Spanning trousers, dresses, leggings, crop tops and coats — including pants for both men and women, sports jersey-style shirts and hoodies as well, and overalls adorned with Harry Potter-themed patterns — it's a fresh treasure trove of items for wizarding fans to spend their galleons on. It's the real, official deal, with the School's Out range also featuring other pieces that won't make you feel like you're in training for the Triwizard Tournament, such as sheer and skater tunics in appropriately enchanting prints. A full preview of the collection is available on the BlackMilk website, with the magical selection going on sale at 7am on Tuesday, August 20. Items are available until sold out — and, yes, that often happens quickly. For more information about BlackMilk Clothing's Harry Potter School's Out range, head to their website.
In 2020, the Melbourne International Film Festival hosted its largest festival to-date — when it came to the size of its audience, that is. Taking place last August when the city was in lockdown, the fest attracted plenty of eyeballs to its online-only lineup. This year, however, Melburnian movie buffs will also be able to head to a cinema to get their film fix. MIFF isn't ditching digital in 2021, though. Instead, it's going hybrid — so watching at home from wherever you happen to be around the country and attending in-person in Victoria will both be options. Just what will be available virtually and what you'll need to see in a theatre hasn't been revealed, but the fest has just announced 32 titles that it'll be showing one way or another between Thursday, August 5–Sunday, August 22. Also, this year's MIFF will be expanding its physical footprint, hitting up not only the usual CBD venues but also suburban and regional spots as well. As for what you'll be seeing, so far the festival has named a hefty number of homegrown movies. Topping the list: the supremely powerful opening night pick The Drover's Wife The Legend Of Molly Johnson, which'll become the first movie by a female Indigenous filmmaker to ever open the fest. Directed by and starring Leah Purcell (Wentworth), the film will launch MIFF 2021 in quite the potent fashion, with this exceptional reimagining of Henry Lawson's 1892 short story making its Aussie premiere after initially debuting at SXSW back in March. Purcell first turned The Drover's Wife into a play and then a book, and thankfully she isn't done forcing audiences to reckon with the country's colonial history and its impact upon First Nations peoples and women just yet. Another big Australian name, and one that'll bow at MIFF after playing at the Cannes Film Festival: the already-controversial Nitram. Read the movie's title backwards and you'll know why it has sparked a reaction long before it even hits the screen. Here, Snowtown and True Story of the Kelly Gang filmmaker Justin Kurzel and screenwriter Shaun Grant reunite on a drama about the lead up to the events in Port Arthur 25 years ago — with Caleb Landry Jones (Three Billboards Outside Ebbing, Missouri) playing the titular figure. [caption id="attachment_815946" align="aligncenter" width="1920"] Nitram[/caption] Other notable local titles include Anonymous Club, a Courtney Barnett-centric documentary about creativity; political thriller Lone Wolf, which stars Tilda Cobham-Hervey (Hotel Mumbai), Stephen Curry (June Again) and Hugo Weaving (Hearts and Bones); and Wash My Soul in the River's Flow, which chronicles Archie Roach and Ruby Hunter's performance with Paul Grabowsky's Australian Art Orchestra, and comes to MIFF at around the same time as it'll screen at this year's Sydney Film Festival. This year, the two events overlap — SFF is being held two months later than usual — so cinephiles can expect the fests to share more a few more movies in common than usual. From MIFF's international slate, Petit Mamam leads the bill — and, given that it's the latest film from Portrait of a Lady on Fire's Céline Sciamma, it's an instant must-see. Other standouts include tweet-to-screen comedy Zola, Oscar-nominee Quo Vadis, Aida?, Japanese relationship drama Wheel of Fortune and Fantasy and documentary Hopper/Welles, which charts a boozy 70s conversation between Dennis Hopper and Orson Welles. MIFF will also screen Pedro Almodóvar's (Pain and Glory) latest, a short called The Human Voice that stars Tilda Swinton, and also marks the Spanish auteur's English-language debut. And, it'll host a Hear My Eyes session as the fest often does, this time screening Aussie great Two Hands. The full festival lineup will be revealed on Tuesday, July 13, which is when you'll be able to start planning out your August viewing schedule — and your trips between the fest's 2021 venues, which include Comedy Theatre, the Forum, RMIT Capitol Theatre, ACMI, Kino Cinemas, Hoyts Melbourne Central, Coburg Drive-In, The Astor, Palace Cinemas Pentridge, The Sun Theatre and Lido Cinemas. The 2021 Melbourne International Film Festival runs from Thursday, August 5 to Sunday, August 22 at a variety of venues around Melbourne. For further details, including the full program from Tuesday, July 13, visit the MIFF website.
It's safe to say that Australia's COVID-19 vaccination rollout hasn't been all smooth sailing. Nor has it come without its (unfair) share of highly divided opinions. But, we can all agree that getting back to a world where we're all able to do the things we love would be very nice, indeed. For many, the arts industry is one of the biggest things we've sorely been missing in the last 18 months, and it's also one of the sectors that has been hit the hardest by the pandemic. This was the catalyst for the Melbourne Symphony Orchestra's compelling new ad campaign aimed at overcoming vaccine hesitancy in Australia. The Performance of a Lifetime was created with the help of a diverse cast of local artists and arts organisations in order to encourage audiences to get on board and get vaccinated when they're eligible. Its message? The sooner people play their part and get their jab — aka the performance of a lifetime — the sooner we can all get back to doing what we love. Best of all, it ditches any alarmist chat in favour of clear, straightforward messaging and a hopeful outlook. Musical comedy trio Tripod, who appeared in the ad, summarised the sentiment nicely in a media statement: "The sooner everyone mucks in and gets the jab, the sooner the arts community can get back to what we do best — providing a focal point for communities to gather, so we can all share our joy at being alive on this big, stupid planet." The two-minute-long ad features a rollcall of other familiar faces from Melbourne's music, theatre, dance and performance communities, including iconic entertainer Rhonda Burchmore OAM, composer and soprano Deborah Cheetham AO, and actress Virginia Gay. You'll also spy appearances from members of the Melbourne Symphony Orchestra, Melbourne Theatre Company, The Australian Ballet and national Indigenous opera company Short Black Opera. As comedian and songwriter Tim Minchin said in a statement, "Get vaccinated Aussies…as soon as you possibly can. Let's show this fucking bug the door." You can check out the full 'Performance of a Lifetime' ad video here on YouTube.
Just in case social media didn't already provide us with sufficient scope to project our mood at unwitting strangers, three German artists have provided another, even more public avenue through the 'Public Face'. Their interactive art installation reflects the mood of the city in which it stands with a giant electric emoticon. Hidden cameras at ground level capture the facial expressions of passers-by to measure the general vibe at any given time, and relay it back to the emoticon tower. So long as there are no manic-depressives in the crowd or cause for any emotion beyond happy, sad, or indifferent, the giant smiley will provide an accurate public vibe-o-meter, constantly updating itself to match the collective mood. There are unverified rumours that the Public Face will do the rounds in a variety of cities across the globe in 2012, but this may not be good news for everyone. The smiley's stint atop a lighthouse on Bavaria's Lindau Island last year revealed that the town could do with a little more cheer, where the giant face spent a lot of time being indifferent and was rather reluctant to flash any pearly whites. How to bring the mood of a city down even lower? Show the people how depressed they already are. The Public Face is a quirky piece of interactive art, taking a playful spin on the distillation of emotion that occurs when relationships go digital. [Via Archetizer]
For every great story there exists, somewhere, a pornographic adaptation of it. However, it is rare for the adaptation process to go the other way and for pornography to be turned into art. This is just one of the things that makes The Rabble's Story of O such a remarkable work. As a choice for source material, 1950s French titillater Histoire d’O is certainly an outré choice. The novel tells the story of a beautiful Parisienne who is induced by her lover to become a sex slave for a bondage club, who operate as a kind of secret society in a country chateau. The slide into depravity is framed as a romance — the heroine, known only as O, consents willingly to all manner of indignities, driven by the desire to please her lover — and the book was doubly scandalous because the author was a woman. The Rabble’s interpretation is not so much a straight telling of the story as an evocation of its mood and an exploration of the broader social issues it raises. And what issues, with a questioning eye turned to the meanings of eroticism, power, free will and identity. As a piece of theatre, it’s a scorcher. The cast, a striking assemblage from the moment they appear posing louchely on carousel horses, deliver powerhouse performances, with Mary Helen Sassman giving raw intensity to the role of O. With a script incorporating snippets from De Sade and symbolist poet Renée Vivien, as well as ideas from essayist Susan Sontag, it is a far more artful text than the notoriously clunkily written original. The intellectualisation of its subject matter is openly and powerfully expressed at the same time as the show virtually redefines viscerality in its ingenious theatrical depictions of graphic sex. The gender blurring of some key roles — most notably Sir Stephen, the master of the sadomasochistic circle, being played by a woman (Jane Montgomery Griffiths, who delivers the role with a double serving of panache) — enables power to be examined as a symbolic entity, potentially if not entirely free of the scenario’s patriarchal overtones. Sex is by turns shown as garishly carnivalian, coldly clinical or, at times, downright harrowing. It makes for frequently confronting viewing but far from being relentless, the play is expertly timed, shock points spaced among moments of gentleness and humour. It is as if the play itself acts as dominus to the audience, with a fire and ice approach, alternating warmth and brutality, each heightening the other, dragging you ever deeper under its influence. Some may find it too shocking and I did see one walk out. It was telling though that half way through the act of leaving, the departing lady paused, transfixed by a development on stage, her decision to go made but the power of the piece not releasing her. I couldn’t have looked away for a second. Story of O is theatre that absolutely commands attention.
Wearing a pair of R.M. Williams says 'I'm ready for anything'. You could be going to the pub, walking into a work meeting or heading out to the farm to milk the cows. Sparkly footwear doesn't quite conjure up the same feelings of practicality. Well, until now — because R.M. Williams have just released a special run of boots in gold metallic. Joining the likes of Saint Laurent, Gucci and Marc Jacobs, the Aussie bootmaker has combined the metallic trend with their timeless aesthetic, adding a gold colour option to their women's Yearling Adelaide boots. As with each R.M. boot, these have been crafted out of a single piece of leather and feature the same elegant stitching and tapered heel of the regular Adelaide range. R.M.s are arguably Australia's most iconic shoe. From a modest start in the Adelaide outback servicing the stockmen and women of the heartland, 85 years later, a diverse range of people still wear the boots — from farmers in the outback, to corporate businessmen, to the style set at fashion week. Australian designer Dion Lee has used R.M.s regularly in campaign shoots and runway shows, even creating his own for New York Fashion Week in 2014. This latest addition to the R.M.'s women's range is only available online via special order, which means it will take about six to eight weeks before they're delivered. At $545 a pair, they're not exactly cheap — but if you're looking for an investment piece, a pair of R.M.s is the very definition of the phrase. Continuing to embrace contemporary styles and adapting to modern fashion without sacrificing their DNA has surely guaranteed the longevity of this historic label. R.M. Williams' gold Yearling Adelaide boots are available to order online here.
Acclaimed Rockpool chef Neil Perry is kicking off the new year with a bang, last week opening the doors to his fourth Burger Project outpost in Melbourne. Perhaps feeling the need to differentiate the new store from the countless amount of burger joints in the CBD, the format here is a little different to the other Melbourne Burger Projects — the first of which opened in May 2016 — by inviting longer visits with 170 seats across two levels, a separate bar, an outdoor dining area and screens showing sports. GPS buzzers allow punters to wait for their food from the comfort of their table — rather than milling around the counter — and self-serve soda dispensers pour unlimited refills. All the menu favourites remain, though they're now be joined by a series of limited-edition creations, which will change up every eight weeks. Available across all Burger Project stores, this new lineup will see Perry getting extra creative with global flavours. First out of the gate is The Mexican, starring guacamole, chilli salsa and sour cream, and designed to work a treat alongside an ice-cold can of Tecate. The Bourke Street store also launches Burger Project's new and improved craft beer offering, which will see up to four tap brews featured at each venue. Draught drops from the likes of Mornington and Sydney's Young Henrys will run alongside a rotation of local craft bottles, while the menu will incorporate suggested burger and beer pairings. Happy hour specials are also being introduced across all the stores, with $5 beers and $10 burger-and-chip combos now up for grabs between 3–6pm weekdays. Find Burger Project Bourke Street at 555 Bourke Street, Melbourne. For more info, visit burgerproject.com.
Staying up late absorbing after-dark art and culture might sound like a pastime reserved for inner city folk, but come May, that's exactly what the crowds will be doing in one of Melbourne's outer suburbs, too. Werribee is set to score a brand-new 24-hour arts festival filled with music, performances, live art and film. Simply dubbed 24, the inaugural fest is set to take over Chirnside Park from 6pm on Saturday, May 6 to 6pm on Sunday, May 7. It'll be an all-ages affair that's free to explore, with a jam-packed program of happenings to keep you entertained non-stop for 1440 minutes straight. The Riverside Stage will play host to a broad-ranging lineup of acts, including all-female Wurundjeri dance outfit Djirri Djirri, reggae singer-songwriter Nhatty Man, hip hop and spoken word artist NOMAD, and Amadou Suso & Friends Band, showing off those legendary skills on the kora (a West African stringed instrument). [caption id="attachment_895392" align="alignnone" width="1920"] 'Chromatica', by David Beach[/caption] Tarabeat and MzRizk will treat audiences to a fusion of classic and contemporary Arabic tunes, Halo Vocal Ensemble will be delivering their signature RnB-soaked sound and indie-rock three-piece Berkeley will have the crowds thrashing. The multi-sensory fun continues away from the stage, with a slew of giant installations and live art performances. You'll spy the massive tune-spinning robotic insect UKI, recognisable from appearances at White Night and Burning Man, plus pop-up dance performances by Janette Hoe and a colourful cast of roving entertainers weaving through the night. [caption id="attachment_895393" align="alignnone" width="1920"] 'UKI', by John Palmer[/caption] You can unleash your own creativity with a couple of large-scale interactive works by Slow Art Collection, wander through a luminous garden maze made entirely from recycled plastics, and see artist and designer Callum Preston (set builder for RONE's Time) transform a beat-up car into a neon masterpiece live in front of your eyes. There's a giant interactive kaleidoscope, games of glow-in-the-dark tennis and a silent disco that'll have you bopping from 11pm until 7am. You can even put your feet up, pop on some headphones and catch a flick, thanks to the 24-Hour Outdoor Cinema, which'll be screening back-to-back classics right through the festival. And of course, to keep you fuelled for all that late-night action, there'll be food trucks onsite slinging a wide array of goodies. [caption id="attachment_895397" align="alignnone" width="1920"] Callum Preston[/caption] [caption id="attachment_895388" align="alignnone" width="1920"] Slow Art Collective[/caption] [caption id="attachment_895389" align="alignnone" width="1920"] 'Imaginary Botanicals' by The Indirect Object[/caption] The inaugural 24 will run from 6pm on Saturday, May 6–6pm on Sunday, May 7, at Chirnside Park, 220 Watton Street, Werribee. Top image: Halo Vocal Ensemble
If you missed last year's Yoko Ono/Opening Ceremony collaboration entitled Yoko Ono Fashions for Men 1969-2012, let me give you a minute to follow the link and get back to me. Wow. Right? LED nipples on a bandeau bra, thigh-high boots and some arseless chaps topped off with some good ol' fashioned ball grabbing! Who knew men's fashion had changed so little in the past 40 years. Half absurdist, half straight-shooting statement on fashion and all Ono, the line was based on sketches made during her relationship with John Lennon. The 80-year-old revealed the songwriter served as her muse, inspired by "love for his hot bod". I bet Sean loved hearing those Lennon family classic stories. Just under six months later and she has jumped back into bed with Opening Ceremony to bring us the next instalment, Yoko Ono Make-Up Tips for Men. It's 1 min 30 of tips on how boys can make themselves pretty, with a noticeable lack of eyeliner and set to a remix of Ono's own 'The Sun Is Down'. The video moves through three sections/moods: day make-up, evening make-up and dawn make-up — or, rainbow time, sparkling time and erasing time. In many ways this video looks like a Family Guy parody of itself, and a stupefied Peter Griffin at the 1 min 27 second mark is an easy edit we can all look forward to seeing on YouTube. But, sarcasm aside, this video is definitely worth some of your conversation time — proof that Yoko still has a lot to say about the Y chromosome, sexuality, self and that she still knows how to say it Ono style. War Is Over (If you want it), an exhibition of Yoko's work across multiple disciplines, will be on at Sydney's Museum of Contemporary Art Australia in November 2013. Cross fingers, the artist herself will also be present. Via HuffPo Culture.
Just ten short months ago, seeing a new high-profile movie was a rather straightforward affair. When a big-screen release date was announced for a film, that's generally when it would hit theatres, perhaps with a few minor shifts here and there. But then, as we all know, the pandemic hit. Film release dates started being postponed and have kept up that trend, with big-name flicks pushing their openings back by around a year in some cases. And, recognising that the cinema industry mightn't return to normal worldwide while COVID-19 is still spreading, a few of those eagerly anticipated movies have been making the jump to streaming instead. Add Soul, Pixar's latest film, to the latter category. Instead of releasing in cinemas, it'll now head straight to Disney+ in December. If your Christmas plans usually involve lots of food and then some couch time, you'll be able to feast your eyeballs on the animation studio's new all-ages effort, as it'll hit the Mouse House's streaming platform on Friday, December 25. This isn't the first time that Disney, or even the Disney-owned Pixar, have taken this leap. Earlier in 2020, Pixar's Onward was moved to Disney+ once cinemas started closing down worldwide. Disney also sent terrible fantasy flick Artemis Fowl straight to streaming mid-year, as well as the phenomenal live recording of hit musical Hamilton. The same happened with its big-budget live-action version of Mulan, too, albeit with an added cost involved on top of the normal Disney+ subscription price. With Soul, viewers won't have to fork out anything extra, with the film available as a regular part of the streaming platform's catalogue. And if you're a big fan of Pixar's fondness for layering eye-catching imagery over a shared existential question — what it means to be alive and to feel, regardless of whether you're a toy, bug, monster, fish, superhero, car, rat, robot, dinosaur or emotion — this is clearly great news. As viewers can't help noticing, the animation powerhouse has been leaning into its favourite idea with plenty of force of late. Inside Out focused its attention on the emotions warring inside the heart and mind of a young girl, guiding her every thought, feeling and decision, while Coco drew upon the Mexican Day of the Dead, following a young boy as he wandered through the world beyond the mortal coil. Now, with Soul, Pixar looks to be borrowing from and combining parts of those two movies. It hones in on a school teacher who dreams of becoming a jazz musician, then falls down an open manhole and into a dark realm that looks rather like the afterlife. His titular essence is detached from his body, comes across a far more cynical counterpart and, in the process, starts wondering what it really means to have a soul. Jamie Foxx voices jazz-lover Joe Gardner, who is already musing on life's important questions — why is he here, what is he meant to be doing and what existence is all about — before his accident. Once he has tumbled down the manhole, he spends his time bantering with 22, voiced by Tina Fey. As well as whipping out a nifty cowboy dance, 22 doesn't think that life on earth is all that great. Audiences can expect to tag along on Joe's metaphysical journey, and to enjoy Foxx and Fey's comedic double act. The film also features the vocal talents of Questlove, Phylicia Rashad and Hamilton's Daveed Diggs, and boasts a score by Trent Reznor and Atticus Ross. And if you're wondering where the movie's central idea comes from (other than Pixar's back catalogue), writer/director Pete Docter started thinking about the origin of our personalities when his son was born more than two decades ago. Docter also helmed two of Pixar's big hits — and big emotional heavy hitters — in Up and Inside Out, nabbing Oscars for Best Animated Feature for both. Check out the trailer for Soul below: https://www.youtube.com/watch?v=xOsLIiBStEs Soul will start streaming on Disney+ on Friday, December 25, as part of the streaming service's regular subscription offering.
What's your age again? Old enough to remember when blink-182's classic lineup of Tom DeLonge, Mark Hoppus and Travis Barker were initially together — and old enough to be excited that DeLonge has now rejoined the band, too. If that's you, then you will have been mighty excited about the above news, as well as the fact that the trio is hitting the road on a huge world tour, including heading to Australia. To the surprise of no one, blink-182's upcoming trip Down Under has been getting a huge response, even before general tickets to its February 2024 shows go on sale. So, also unsurprisingly, the band has just added extra gigs in Melbourne, Sydney and Brisbane. [caption id="attachment_873239" align="alignnone" width="1920"] Jack Bridgland[/caption] Melburnians can now choose between Tuesday, February 13 and Wednesday, February 14 at Rod Laver Arena; Sydneysiders can opt for either Friday, February 16 or Saturday, February 17 at Qudos Bank Arena; and Brisbanites have Monday, February 19 and Tuesday, February 20 at Brisbane Entertainment Centre to pick from. Well, assuming you nab tickets quick smart from 1pm on Thursday, October 20 local time — or hop on the Live Nation and Spotify pre-sales at 1pm on Wednesday, October 19. That feeling you get when a decades-old band either reforms its beloved lineup and hits the road, or tours your way with a huge history behind them, kickstarting all those nostalgic old memories? If you're blink-182 fan, you clearly know the right words for that: well I guess this is growing up. DeLonge, Hoppus and Barker — with Rise Against in support — will start their Australian run in Perth, then head to Adelaide, Melbourne, Sydney and Brisbane. For three decades, blink-182 have been the voice inside punk and rock fans' heads, especially in the late 90s and early 00s thanks to albums Enema of the State and Take Off Your Pants and Jacket. Now that they're back together after DeLonge left the band in 2015, blink-182 are also recording new music together, with single 'Edging' out now. Expect to hear everything from 'Dammit', 'Josie' and 'What's My Age Again?' to 'All the Small Things' and 'I Miss You' live, though — and yes, the latter feels oh-so-apt right now. BLINK-182 2024 AUSTRALIAN AND NEW ZEALAND TOUR: Friday, February 9 — RAC Arena, Perth Sunday, February 11 — Adelaide Entertainment Centre, Adelaide Tuesday, February 13–Wednesday, February 14 — Rod Laver Arena, Melbourne Friday, February 16–Saturday, February 17 — Qudos Bank Arena, Sydney Monday, February 19–Tuesday, February 20 — Brisbane Entertainment Centre, Brisbane Friday, February 23 — Spark Arena, Auckland Monday, February 26 — Christchurch Arena, Christchurch Blink-182 will tour Australia and New Zealand in February 2024. Live Nation and Spotify pre-sales start at 1pm on Wednesday, October 19 — and general sales from 1pm on Thursday, October 20 (all local time). For more information, head to the Live Nation website.
Hold onto your hats, because things are about to get fizzy. On Saturday, March 26, The Prosecco Festival returns for its fifth annual edition, transforming Abbotsford Convent into an oasis of effervescence. Bubbles are set to be the order of the day, as leading prosecco producers from Australia and Italy show off their finest fizz, across two sessions (11am–3pm, 4.30–8.30pm). Your $65 ticket will get you entry, a tote bag and a reusable glass, plus four hours of tastings. You'll sample over 50 different proseccos from locals like Pizzini, Dal Zotto and Brown Brothers; and Italian labels including Conti d'Arco, Rigoni and Calneggia. Even Kylie Minogue's signature prosecco rosé will be pouring. Other fizzy delights will include local craft brews, Italian cider and a range of sparkling vino, as well as a bubble-filled menu from the Van Di Vino prosecco van. And an Italian-accented food offering is set to feature bites like arrosticini, Ganzo pizza, Zsa's Bar Bistro & Deli's kingfish crudo and tiramisu, and goodies both sweet and savoury from That's Amore. Feeling festive? Nab a $120 VIP ticket and you'll also enjoy an additional snack-matched tasting masterclass with The Prosecco Queen.
The story goes that, in 1971, National Geographic's Loren McIntyre found the source of the great Amazon River. Last year, author Petru Popescu published his version of the story, called Amazon Beaming, in which Popescu details how McIntyre found a tribal chief with whom he was able to communicate — telepathically. That is, with their brains. Yep. This instance of multimedia theatre, showing at the Malthouse from February 3–10, really challenges the audience to approach the production holistically, in terms of their senses. Taking the idea of telepathic communication, legendary director Simon McBurney and theatre stalwart Richard Katz project all the sound through a 360-degree microphone straight into the ears of their audience via headphones. McBurney pushes the audience's imagination to immerse themselves into the humid and mysterious environment of the Amazon through Katz's impressive performance in what is essentially a two-hour monologue.
